Minnesota Opera's La Clemenza Di Tito Program

Wolfgang Amadeus Mozart

5 • la clemenza di tito

Contents Board of Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Minnesota Opera Volunteers . . . . . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . 7 La clemenza di Tito . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Background Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . 13 Pietro Metastasio and the Tradition of Opera Seria . . . 14 A Conversation with Susanne Mentzer . . . . . . . . . . . . . 15 The Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Gala Thank You. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Opera Broadcasts on MPR . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Minnesota Opera Chorus . . . . . . . . . . . . . . . . . . . . . . . 21 The Saint Paul Chamber Orchestra . . . . . . . . . . . . . . . . . . . 21 Sta∂ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Coming Up: La bohème. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 The Minnesota Opera Fund. . . . . . . . . . . . . . . . . . . . . . . . . 26

TREASURES FROM THE PERSONAL COLLECTIONS OF ANDERS ZORN & CARL LARSSON F EB. 13 - M AY 19, 2002

The Minnesota Opera President & CEO Artistic Director Chair, Board of Directors

Kevin Smith Dale Johnson Virginia L. Stringer

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This activity is made possible in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature. In addition, this activity is supported in part by a grant from the National Endowment for the Arts.

January 2002

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the minnesota opera • 6

Board of Directors Welcome. U.S. Bancorp Piper Jaffray is pleased to help bring you The Minnesota Opera’s production of La Clemenza di Tito.

Sponsoring the opera season is just part of our commitment to the arts and quality of life in our community.

Staging this fine performance takes teamwork. From the conductor to the cast members to the costume designers, many individuals are working together to entertain you. This team includes management and patrons – even the audience – who make a successful production possible.

At U.S. Bancorp Piper Jaffray, we embrace teamwork. We work with clients to understand their needs and accomplish their goals. We work with colleagues throughout U.S. Bancorp to provide a comprehensive range of financial solutions. And we work with The Minnesota Opera and other highquality organizations to enrich our community.

We’re proud to be part of the team effort you’re about to experience. Enjoy the performance.

Andrew Duff President and CEO U.S. Bancorp Piper Jaffray

Virginia L. Stringer, Chair Susan S. Boren, Vice Chair Bruce Nelson, Secretary Loren Unterseher, Treasurer Kevin Smith, President & CEO August J. Aquila Martha Goldberg Aronson Karen Bachman Patricia Bauer Susan J. Crockett Ellie Crosby Rolf Engh Thomas J. Foley John G. Forsythe

Steve Fox R. Thomas Greene, Jr. Heinz Hutter Paula R. Johnson Michael F. Kelly, Jr. Edward J. Kerans Sarah B. Kling Lynne E. Looney Thomas R. McBurney Daniel I. Malina

Julia W. Dayton, Director Emeritus

Diana E. Murphy Jose Peris Kimberly S. Puckett Connie Remele Steven M. Rothschild Lucy T. Searls Gregory C. Swinehart Catie Tobin

James A. Rubenstein, legal counsel, Moss & Barnett

Honorary Directors Dominick Argento H. Wesley Balk Philip Brunelle Elizabeth Close

Dolly Fiterman Charles C. Fullner Norton M. Hintz Donald W. Judkins

David P. Keefe Liz Kochiras Jevne Pennock Patricia H. Sheppard

Minnesota Opera Volunteers The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.

Keri Picket

Cafe,Bakery,Wine & Pizza Bar

Ann Albertson Laurel Anderson Jamie Andrews Gerald Benson Matt Bluem Linda Brandt Jim Brownback Sue Brownback Meredith Cain-Nielsen Kathy Cameron Joann Cierniak* Tricia Clarke* Caroline Coopersmith Lindsay Craig Beverly Dailey Marcia del Castillo Lee Drawert Judith Duncan Sally Economon Mary Sue Fiola Jane Fuller Joan Gacki (Volunteer Chair)

850 Grand Avenue,St Paul 55105 651-224-5687 www.cafelatte.com

Christine A. Garner Heather Gehring Juhi Gupta-Gulati*

Mark Gustin Mary E. Hagen John Harris* Kriste.n Heimerl Anne Hesselroth Alisandra Johnson Nancy Johnson Jeanie Johnston Susan Kalmer Dianne Kelly Eleanore Kolar Lucinda Lamont Shirley Larson Rita Lavin Rochelle Lockwood Rusty Low Randi Quanbeck Lundell Jennifer Madvig Joan Masuck Mary McDiarmid Claire McPherson Verne Melberg Warren Mitlyng Linda Morey Doug Myhra

Dan Panshin Pat Panshin Kaye Peters Sydney Phillips Bill Phillips Julia Porter Jack Richter John Rosse Florence Ruhland John Sauer* Michael Silhavy Wendy Silhavy Wendy Sott Dawn Stafki Harry D. Swepston, III John Thompson Anne Townsley Doris Unger Carolyn Wahtera Barbara Willis* Jeremy Wright Melissa Zschunke *Lead volunteer

Notes from The Leadership from Dale Johnson

Welcome to La clemenza di Tito, a new production for a new year.

Welcome to today’s performance! You are in for an operatic treat.

I would like to start the new year here at The Minnesota Opera by expressing this company’s gratitude to all of you in the community. Not only have you continued your support during the tumult of 2001, but most of you have increased your support in the context of a di∑cult economy. This is a remarkable testament to the resilience and generosity of our community as well as your commitment to The Minnesota Opera. I speak on behalf of the entire company when I say we are proud to live in a community that places high value on the arts.

We have assembled on our stage tonight consummate musicians. Once again The Minnesota Opera partners with The Saint Paul Chamber Orchestra, and we have an exciting cast of international operatic giants together on the same stage. Tenor Bruce Ford, appearing as Emperor Tito, returns to The Minnesota Opera stage after an absence of 15 years. It is great to have him back. We welcome back one of our favorites, soprano Brenda Harris, in her trademark role of the scheming fury Vitellia. The international superstar, mezzo-soprano Susanne Mentzer, makes her company debut in the pants role of Sesto.

Our first production of the season, Lucia di Lammermoor, sold to 88% capacity at the box o∑ce. While that number is slightly lower than we projected, under recent circumstances we are extremely pleased. Our Opening Night Gala was also a tremendous success, with attendance and funds raised exceeding both record numbers and expectations.

As we enter 2002 with this new Mozart coproduction, we are more excited than ever about the possibilities our future holds and about the art we are able to provide to the community which has been so supportive.

This production also allows us to showcase the talents of our Resident Artists past and present. Soprano Ana Rodriguez sings Servilia, Sesto’s sister, and former Resident Artist, mezzo-soprano Lori-Kaye Miller, returns as Annio.

Finally, Alfred Walker appears in his company debut as Publio.

The production itself, distinctive in its own right, will travel to Covent Garden later this spring.

I am delighted you are here to experience what will be without a doubt a legendary Minnesota Opera performance.

Kevin Smith President and CEO Dale Johnson Artistic Director

7 • la clemenza di tito

from Kevin Smith

World premiere at the National Theater, Prague September 6, 1791 January 26, 29, 31, February 2 and 3, 2002 Ordway Center for the Performing Arts Sung in Italian with English captions

Act I, scene ii

Conductor . . . . . . . . . . . . . . . . . . . . . .Harry Bicket Stage Director . . . . . . . . . . . . . . . . .Stephen Lawless Set Designer . . . . . . . . . . . . . . . . .Benoît Dugardyn Costume Designer . . . . . . . . . . . . .Sue Willmington Lighting Designer . . . . . . . . . .Joan Sullivan-Genthe Wig Master and Makeup . . . . . . . . . . . .Tom Watson Assistant Conductor . . . . . . . . . . . . .Je∂rey Domoto Chorusmaster . . . . . . . . . . . . . . . . . . .Joseph Lawson Continuo . . . . . . . . . . .Peter Howard, Bruce Stasyna Production Stage Manager . . . . . . . .Alexander Farino English Captions . . . . . . . . . . . . . . . .Adam Pollock The Cast Tito, Emperor of Rome . . . . . . . . . . . . . . . .Bruce Ford Vitellia, daughter of Vitellius . . . . . . . . .Brenda Harris Sesto, friend of Tito . . . . . . . . . . . . . .Susanne Mentzer Servilia, sister of Sesto . . . . . . . . . . . . . .Ana Rodriguez Annio, friend of Sesto . . . . . . . . . . . .Lori-Kaye Miller Publio, prefect of the praetorian guard . . .Alfred Walker Senators, ambassadors, praetorian guards, lictors, people of Rome Setting: Rome, c 80 ad

Act II, scene iii Five octave Mozart-era Stein fortepiano provided by The Schubert Club.

Scenery and costumes for this production are jointly owned by The Minnesota Opera and The Dallas Opera and were constructed by The Dallas Opera Stage Scenery and Costume Shop.

La clemenza di Tito by Wolfgang Amadeus Mozart Edited for the New Mozart Edition (Neue Mozart-Ausgabe) by Franz Giegling.

By arrangement with Baerenreiter-Verlag, publisher and copyright owner.

The appearances of Lori-Kaye Miller, Ana Rodriguez and Alfred Walker, regional finalists of the Metropolitan Opera National Council Auditions, is made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis.

La clemenza di Tito is sponsored by American Express Minnesota Philanthropic Program The Minnesota Opera season is proudly sponsored by U.S. Bancorp Piper Ja∂ray.

OperaInsights is sponsored by SpencerStuart.

The 2001-2002 Camerata Circle Dinners are sponsored by Rider, Bennett, Egan & Arundel.

Promotional support provided by Minnesota Monthly.

Special thanks to Miller Meester advertising for making the 2001-2002 season preview recording possible

Performances of La clemenza di Tito are being taped for delayed broadcast on Minnesota Public Radio, KSJN 99.5 in the Twin Cities, in June 2002.

See page 20 for details.

9 • la clemenza di tito

Music by Wolfgang Amadeus Mozart Libretto by Caterino Mazzolà after a libretto by Pietro Metastasio (1734)

t h e m i n n e s o t a o p e r a • 10

T

ito can do no wrong. He pardons con-

Notes by David Sander

spirators, donates money to disaster

victims, disregards the words of libelers and slanderers, and marries not for love, but for the good of the empire. He is the poster boy for 18 th-century “enlightened absolutism,” the perfect propaganda vehicle for recently appointed Emperor Leopold ii, known to his people as the “German Titus.”

The Hapsburgs desperately needed some good press. Just two years before Leopold’s ascension, the French Revolution rocked the monarchical system, deposing his own sister, Queen Marie Antoinette. Their brother, Joseph ii, had proved himself ine∂ectual during his final years, having made significant reforms that disquieted the nobility and engaged Austria in an unpopular war with the Ottoman Empire. Joseph’s death in 1790 left the throne open to Leopold, who quickly established power through a series of coronation ceremonies, first as the Holy Roman Emperor, then as King of Hungary and finally as King of Bohemia. Thankfully he had 25 years of experience under his belt as Grand Duke of Tuscany, where he had been celebrated for his enlightened rule.

The Bohemian Estates wished to honor their monarch with a week of festivities, including a new opera. Hapsburg tradition dictated that it be an opera seria to a text by the celebrated 18th-century librettist Pietro Metastasio.

It was most fortunate that one of his texts happened to be based on the Emperor Titus, another benevolent ruler, perhaps one of just a handful in the long roster of corrupt Roman despots.

Titus came to the fore in the wake of a civil war following Nero’s death, and with it the end of the Julio-Claudian dynasty. In three years, Rome had had four emperors – Galba, Otho, Vitellius and Vespasian – the first three having su∂ered violent deaths. With the rise of

Vespasian, however, the dust began to settle, and his rule was to last ten years – he would be the first Roman emperor to die a natural death.

The reign of Vespasian’s son Titus was to last only a few years (79 – 81 ad), but it was marked by several major events.

The eruption of Mount Vesuvius leveled Pompeii and Herculaneum. A major fire left portions of the Eternal City in ruins. And a particularly virulent return of the plague threatened Rome’s population.

The two-year period also saw the completion of the great Flavian amphitheater, the Colosseum, begun by Vespasian in 70 and christened with a reenactment of a famous naval battle with 3,000 participants adrift in an entirely flooded Colosseum floor. Also dating from the period is the Arch of Titus, which was built to honor the Emperor’s victory in Judea during the Jewish wars a decade before.

Titus’s character (marked by cruelty, greed, suspected forgery and sexual promiscuity) was not as stellar as the opera’s eponymous hero, but he did clean up his act somewhat once he became emperor. Historically speaking, Titus was responsible for granting relief to volcano survivors, and as the 2nd-century historian Suetonius indicates, he did survive an assassination plot and pardoned the insurgents. This became the basis for Metastasio’s drama, which

sketches for the opera already completed.

This may have guided Mozart’s decision to accept the commission, given he had less than two months to compose it.

Even though he was committed to other work, he was still desperately short of cash, and a second child was due at any time. He also aspired to a posting as second kapellmeister in Leopold’s new regime and hoped to impress the Emperor with a reminder of their past encounters. The composer set aside his two other major projects, a somber requiem and a German singspiel, and wrote the score at a rapid pace.

The reception at the premiere survives in an anecdote, a sneer made by Empress Maria Luisa calling the new work “German trash.” The remark survives only in spoken lore, and it would be surprising if the royal couple found disdain in all of Mozart’s music – the coronation celebrations are peppered with performances of his other works, and the Emperor and Empress had just attended a production of Don Giovanni only a few days before. One senses that if the remark is true, Maria Luisa would have been referring to his treatment of opera seria, the favored genre of the Tuscany court and one to which (they thought) only could be done justice by an Italian composer. Nonetheless, the people took their cue, and further performances of La clemenza di Tito did not sell out. The opera closed on September 30, 1791, coincidentally on the same day as the opening of The Magic Flute in the suburbs of Vienna.

Still, the opera had a long life ahead of it even if Mozart didn’t. Following his death, Constanze Mozart made selections from the work a staple in her benefit concerts intended to raise money for her struggling family. La clemenza di Tito became one of Mozart’s most popular operas during the early part of the 19th century until Romantic sensibility put it in the shadows for many decades.

Only during the last 25 years has the opera returned to the standard repertory and is now valued as it should be – a jewel in the crown of the great com-

Mazzolà and Mozart breathed life and humanity into Metastasio’s statuesque characters

11 • l a c l e m e n z a d i t i t o

otherwise is mostly fiction.

Suetonius also mentions an unnamed daughter to Vitellius, though there is no evidence she was involved in the scheme to overthrow Titus. The Jewish princess, Berenice, also comes to us from the history books – Titus became involved with her during his governorship of Judea, and she later joined him in Rome. The prospect of marriage was indeed discouraged by the Roman people, who found Berenice’s marriage to her uncle King Herod Agrippa and incestuous relationship with her brother Herod Agrippa ii distasteful.

In addition to Suetonius’s chronicles, Metastasio was inspired by French classical t h e at e r with Racine’s Andromaque (1667) and Corneille’s Cinna, ou la clémence d’Auguste (1642). His libretto was first set in 1734 to music by Antonio Caldara for another Hapsburg emperor, Charles vi (grandfather of Leopold), and not surprisingly, was intended to flatter the ruling monarch, though the librettist made a shallow e∂ort to disguise that fact. Since its premiere, his libretto for La clemenza di Tito was set more than 40 times during the 18th century – it became his most popular work.

Metastasio was dead by the time the Bohemian commission came around, and the task of updating the text fell into the hands of Caterino Mazzolà, the recently appointed Caesarian poet to the Austrian Empire. It was common practice to modify a Metastasio libretto to

suit one’s own tastes and purposes, and this had been done in each previous incarnation. Mazzolà skillfully whittled down the text, eliminating some 700 lines and creating a few new ones, incorporating them into ensembles and choruses (of which Metastasio had next to none). He reduced the opera from three to two acts and focused the action on three characters, eliminating virtually all of the subsidiary plots. He and Mozart breathed life and humanity into Metastasio’s statuesque characters, fleshing out Vitellia as a hell-bent fury thirsty for vengeance, building upon Sesto’s internal conflict between his passion for a woman and love of a friend, and lending compassion to Tito’s struggle to temper his personal tragedy with public duty.

The Metastasio/Mazzolà political allegory not only shows Titus as a perfect individual, but a skillful manipulator of the people. Rebellions were a hot issue at the end of the 18th century, and the double-edged sword is very clear – the ruler can be both kind and cruel, whatever the situation demanded. The drama portrays a monarch faced with a violent uprising but able to successfully quash it – an important message to send during a particularly unsettling period of history.

Timing is everything, and circumstance played a crucial role in the development of the coronation opera.

Unfortunately the Bohemian nobles did not allot very much time between their decision to create a new work and the day of its premiere. Inquiries began in July, but Mozart was not the first choice. That honor fell to Antonio Salieri, kapellmeister of the Imperial court, who had the good sense to decline given his workload at the moment – his star pupil (and assistant) was composing at Esterháza in lieu of Franz Joseph Haydn, who was in turn delighting audiences in London with his symphonies. The impresario in charge of the project, Domenico Guardasoni, next approached Mozart, whom he had known from two years prior. In fact, at that time they may have discussed the possibility of setting La clemenza di Tito – evidence suggests Mozart had some

t h e m i n n e s o t a o p e r a • 12

Synopsis Scene three Publio gives Tito a docu- place Sesto under arrest. The man he ment naming those who have dared supposed was Tito did not die and has to besmirch the names of the em- divulged the details of the coup. Vitellia Scene one Vitellia, daughter of the deperors, past and present, yet Tito has a moment of remorse for causing his posed emperor Vitellius, is furious advises him to pay no mind to the downfall. over Tito’s plans to marry the Judean matter – it is better to forgive. princess Berenice. Vitellia feels she Scene two The people celebrate the They are interrupted by Servilia, has been overlooked as the obvious suppression of the rebellion and who begs an audience with the emchoice as Tito’s consort, thereby Tito’s safe return to the seat of peror. Though honored by his o∂er, mending the fence between power. Publio announces the she boldly declares that her heart powerful Roman factions. She commemorative games are belongs to another. Tito releases has enticed Sesto to incite a riot about to begin, but Tito hesidesigned to overthrow and murder Annio her from the obligation to the tates, fearing Sesto’s fate beempire and blesses her marriage Tito. Sesto is hesitant – Tito is a close fore the Senate. He doesn’t friend and a good emperor – but his to Annio. believe his friend could have Vitellia encounters Servilia love for Vitellia is all-consuming. Annio betrayed him. Annio enters, enters with news that Tito’s marriage and bitterly o∂ers her new sovbegging for mercy on plans are not popular with the peo- ereign a token of respect.

Sesto’s behalf. During his ple, and therefore Berenice has de- Servilia cryptically replies parted from Rome. Tito has sent that the throne still may be Vitel- Servilia trial Sesto confessed to the evil for Sesto. In an aside, Vitellia lia’s, which the latter takes as an insult. deeds and has been condemned to die. tells Sesto to defer her orders as Her angers flares as she sends for Sesto, Left alone Tito considers his friend’s dethere may still be a place for whom she berates for putting o∂ the re- ceit but can’t sign the death sentence bellion. Again she uses her wiles to win before speaking to him once more. He her in Tito’s heart.

Annio loves Sesto’s his heart, and he begrudgingly agrees to rues the unhappy fate of those in power sister Servilia and believes her plan. After Sesto leaves, Publio in- who must live in constant fear of their forms Vitellia that she has been se- friends and enemies. the time is right to solBefore the emperor, Sesto confirms lected to become Tito’s bride. She emnize their union.

He Vitellia tries to stop Sesto, but it is too late his guilt, claiming weakness but refusasks his long-time friend to ing to name his accomplice. Angered by – the insurrection has begun. help him obtain the emperor’s Sesto’s reluctance to justify his treachconsent.

Scene four Alone, Sesto considers ery, Tito agrees to the execution, only to the consequences of his treaso- falter once again after Sesto has left his Scene two The people praise their nous act. A fire breaks out in presence. His love for his friend is emperor as Publio announces his the capital as the conspiracy greater than the need for revenge, and confirmation as “Father of the unfolds. A crowd of horrified he privately determines to save Sesto’s State.” A temple shall be built, life. onlookers gathers. and the annual tribute is o∂ered Vitellia learns of Sesto’s death senin his honor. Tito modestly detence and suspects that she has — intermission — clines the temple and the treabeen implicated in the plot. sures, accepting only the love of his Sesto Annio and Servilia encourage act ii people. He orders the tribute be given her to use her influence as the as relief to the survivors of Vesuvius, future empress with Tito – their villages having been reduced to Scene one Sesto believes Tito to be they don’t understand why ashes by the volcano’s eruption. As the dead, but Annio assures him she tarries. Left alone, Vitellia people withdraw, Tito asks that Sesto that Tito lives – another man gathers her resolve to come and Annio remain. He announces that took the seemingly deadly clean with the truth. since he cannot marry for love, he shall blow. Sesto confesses to Annio for friendship and asks for Servilia’s that it was he who incited hand, thereby bringing Sesto’s family the riot intended to assassinate the Tito Scene three Tito orders that the condemned man be brought before closer into the royal fold. Privately both emperor. He advises his friend to proSesto and Annio are horrorstruck – tect Tito from any further harm. Annio him, relishing his secret design to o∂er though Sesto tries to explain the situa- suggests that Sesto throw himself at a pardon. As Sesto is admitted, Vitellia tion, Annio nobly confirms that the al- Tito’s mercy, using his own virtue as his rushes in and confesses her involvement, fueled by her rage at being twice passed liance is a good one and that Servilia is best defense.

Vitellia, however, demands Sesto over for candidacy as empress. Tito anworthy of Tito’s greatness.

Annio gives Servilia the terrible leave Rome at once, before knowledge nounces his desire to forgive and forget, news, yet she counters that he is her only of his role in the siege is discovered. Her and all rejoice their noble emperor’s e∂orts are in vain – Publio arrives to clemency. true love. She will talk to the emperor. act i

Wolfgang Amadeus Mozart

C

hild wonder, virtuoso performer and than during that sejour, when he was her husband, joint rulers of the Austrian prolific creative artist, Mozart is the seated at the dinner table below the Netherlands.

The Marriage of Figaro, Mozart’s first first composer whose operas have never prince’s personal valets and just above true masterpiece for the Imperial been out of repertory. His prodicourt, premiered at the Burgtheater gious talents were apparent very in 1786 and went on to Prague the early in his life; by the age of four he following year where it was a huge could reproduce on the keyboard a success. Don Giovanni premiered in melody played to him, at five he Prague in 1787 to great acclaim, but could play the violin with perfect inits Vienna premiere in 1788 was tonation and at six he composed his coolly received. By this time, Mozart first minuet. had received a minor Imperial postA musician himself, Wolfgang’s ing, Kammermusicus, which required father, Leopold, immediately saw the him to write dances for state funcpotential of his son’s talents. With tions. The position was hardly worthe mixed motives of religious piety thy of his skills and generated only a and making a tidy profit, Leopold modest income, a weighty concern embarked on a series of concert tours now that debts had begun to mount. showing o∂ the child’s extraordinary Joseph ii commissioned another talents. Often playing with his sister opera from Mozart, Così fan tutte, Maria Anna (“Nannerl”), herself an which premiered January 26, 1790. accomplished musician, young The emperor was too ill to attend Wolfgang charmed the royal courts the opening and died the following of Europe, from those of Austrian month. His brother, Leopold ii, asEmpress Maria Theresa, French king sumed leadership, and Mozart hoped Louis xv and English king George to be appointed Kapellmeister – iniii, to those of the lesser principaliScala / Art Resource, NY stead he merely received a continuties of Germany and Italy. ance of his previous position.

As Mozart grew older, his conCrisis hit in 1791. Constanze’s cert tours turned into a search for Portrait of Mozart by Joseph Lange (1751-1831) medical treatments at Baden and the permanent employment, but this proved exceedingly di∑cult for a Ger- the cooks. He requested to be perma- birth of a second child pushed their man musician in a market dominated nently discharged from his duties, and finances to a critical point. Mozart’s

by Italian composers. Although many of after several heated discussions his peti- friend and fellow Freemason, the imprehis early operas were commissioned by tion was granted, punctuated by a part- sario Emanuel Schikaneder, suggested he try his luck with the suburban audiMilanese and Munich nobles (Mitridate, ing kick in the pants.

Now completely on his own for the ences at his Theater auf der Wieden.

Ascanio in Alba, Lucio Silla, La finta giardiniera), he could not rise beyond Konz- first time, Mozart embarked on several Composition of The Magic Flute began ertmeister of the Salzburg archbishopric. happy years. He married Constanze that summer but had to be halted when When the new prince archbishop, Weber, sister to his childhood sweet- two generous commissions came his Count Hieronymus Colloredo, was ap- heart Aloysia, and premiered a new way: a requiem for an anonymous papointed in 1771, Mozart also found he work, Die Entführung aus dem Serail (The tron (who hoped to pass it o∂ as his own was released for guest engagements Abduction from the Seraglio), at the composition), and an opera seria to celewith less frequency. Though his position Burgtheater. Mozart also gave concerts brate the new emperor’s coronation as improved and a generous salary was around Vienna, presenting a number of King of Bohemia. La clemenza di Tito o∂ered, the composer felt the Salzburg new piano concertos and symphonies. premiered September 6, and The Magic musical scene was stifling for a man of His chief concern was to procure a posi- Flute was completed in time to open tion at the Imperial court. A small com- September 30. The Requiem, however, his enormous talent and ingenuity.

Things came to a head in 1781 im- mission came his way from Joseph ii for remained unfinished, and as Mozart’s mediately after the successful premiere a one-act comedy, Der Schauspieldirektor health began to fail, the composer feared of Mozart’s first mature work, Idomeneo, (The Impresario), given in the same he was writing his own death mass. In in Munich. The archbishop, then visit- evening as Antonio Salieri’s Prima la December Mozart died at the age of 35 ing Vienna, insisted the composer join musica e poi le parole (First the music, then and was given a simple funeral by his him there. Never did Mozart better un- the words), to celebrate the visit of the impoverished widow, then buried in a derstand his position in the household emperor’s sister, Marie Christine, and mass grave on the outskirts of Vienna.

13 • l a c l e m e n z a d i t i t o

b Salzburg, January 27, 1756; d Vienna, December 5, 1791

b Rome, January 3, 1698; d Vienna, April 12, 1782

T

he words Pietro Metastasio and to be taught as well – a higher moral up to 12 scenes defined by the enopera seria are virtually synony- purpose could be achieved with the trances and exits of between five and mous, as for most of the 18th century, display of devotion to duty and loyalty eight characters. The story line was his 28 libretti held sway in the realm to the rational side of the human typically derived from ancient history, o f s e r i o u s I ta l i a n o p e r a . L i k e mind. Aristotelian principles of unity with the French classical theater of Gioachino Rossini’s music a century in time, place and action, supported Pierre Corneille and Jean Racine servlater, Metastasio’s famed literary style by the precept of drama’s purpose ing as a guide. The opera was laid out and operatic formula became text- both to delight and to instruct, guided as a sequence of arias, mostly of the da book, subduing the threat of any seri- them in seeking an art form that de- capo variety, itself evolved from the ous competition to mere imitation. livered a didactic message. Librettists, poetic refrain – musical material is inHis position remained unchallenged such as Apostolo Zeno (1668 – 1750), troduced, contrasted, then reintroduced and embellished. Duets for 50 years. occasionally may be employed, Born Antonio Trapassi to an but larger ensembles typically impoverished family in Rome, the were not, and the chorus was reyoung Metastasio had the good served for the triumphal scenes fortune to attract the attention of and big act finales. Recitative Gian Vincenzo Gravina, a wealthy filled the gaps, usually set to jurist and man of letters. Gravina simple continuo, with orchestral was impressed with the boy’s accompaniment reserved for the knack for verse and improvisation two to three truly serious moand he o∂ered to adopt the boy ments of the piece. Protagonists and further his education. Under faced emotionally charged his tutor’s wing, Metastasio’s life conflicts involving public good was transformed, indicated quite versus private interest, and the literally by the change in name drama is propelled forward by Gravina orchestrated on his beintrigue and deceit, contrasted half, Metastasio being derived by a subsidiary plot involving from the Greek word metastasis, a two lovers. The ending is intransition or change. evitably a happy one, even if it When Gravina died in 1718, betrays the original source (anMetastasio came into a small forother trait inherited from tune, which he quickly squanFrench theater, where all the undered. He also inherited his pleasantness took place o∂stage). adoptive father’s place in the ArMetastasio’s libretti stood as cadian Academy. Founded in Arch of Titus, 1871; George Peter Alexander Healy, Frederic Church, literary works apart from the 1690, the Academy (among its and Jervis McEntee. music and could be played as other intentions) sought to bring some order to the somewhat uncon- elevated the quality of the libretto, spoken drama. This could explain trolled legacy of baroque opera. Opera, significantly downsizing the cast list their extreme popularity during the during the first century of its existence and streamlining the plot into an or- 18 th century – audiences seemed to had become extravagant. Spectacle was derly sequence of events. Emotions enjoy seeing them time and time the name of the game with newly im- were restrained, comedy was entirely again as long as the musical accompaproved stage machinery and special eradicated and language became ele- niment had changed. This a∂orded the e∂ects intended to produce the ulti- gant and aristocratic. rise of several composers, namely JoZeno had been poeta cesareo to the hann Hasse (1699 – 1783), Niccolò mate theatrical experience, aptly described in France as le merveilleux, or Hapsburg court in Vienna since 1718, Jommelli (1714 – 1774), and Tom“the marvelous.” Plotting was a sub- and Metastasio succeeded him in maso Traetta (1727 – 1779), obscure sidiary concern; consequently the op- 1729. There Metastasio did his best names today, but then quite popular eras had a plethora of characters, work, first collaborating with vice- thanks to Metastasio. His universal incongruous situations, with comic kapellmeister Antonio Caldara (1670- popularity extended across Europe – and tragic episodes intertwined and 1736) and standardizing the art form George Frideric Handel used several use of superfluous language. Baroque of opera seria. The librettist was a Metastasio libretti for his London opopera relished its unique status as master of stagecraft and an economical eras, as did Johann Christian Bach, being all the arts rolled into one, yet writer of exquisite verse. A Metas- Giuseppe Sarti, Domenico Cimarosa the Arcadians felt that there was virtue tasian libretto had three acts each with Opera Seria continues on page 20 The Newark Museum / Art Resource, NY

t h e m i n n e s o t a o p e r a • 14

Pietro Metastasio and the Tradition of Opera Seria

A Conversation with Susanne Mentzer What was your reaction when you were asked to take on the role of Sesto?

I’ve been in this opera three times singing the smaller role of Annio. I sang the role of Sesto at the Lyric Opera of Chicago, and then I never had another o∂er to do it. I think it’s because this opera is not often done. When this possibility came up, I thought, boy, that’s one role I really want to do again.

cence of a woman’s voice works well for trouser roles – these are young men, all 20 and under.

What is appealing about the role?

Vocally it’s one of the more challenging and enjoyable roles to sing. I do a lot of Mozart, like the role of Cherubino, which is great, but it’s comic and cute. I really love the dramatic “trouser” roles of Mozart. I jump whenever I get a chance to do them.

How do you approach singing and acting the role of a young man?

The singing is no di∂erent from what I do in the role of a woman. Physically, the trouser roles are usually more active.

It sounds rather odd, but I find this very freeing; you don’t have to worry about posing as much as just being. I don’t do roles like Carmen or Delilah because they’re too low for me, so a lot of the female roles left for me as a mezzo are not as emotionally satisfying as trouser roles.

Do you gesture di∂erently when you play a young man?

It’s really a mindset more than anything. A lot of these operas were written in the 1700s and 1800s. The men had an elegance about them; if you were to see them today you might think them a little e∂eminate because of their wigs and clothes. I can get away with it because I can give a bit of that e∂eminate quality, but I can also just be a tomboy.

You sing such a wide variety of genres — from recitals to opera to chamber music, from Mozart to Berg. How are those di∂erences reflected in the way you use your voice?

For years, all I did was opera, partly because I was only comfortable being a character. I wasn’t comfortable being myself. In my late 30s I really got interested in recital work, and found it freeing in a few di∂erent ways. I was collaborating with one pianist or a few chamber musicians and that was it. We would decide what we wanted to do with the music. In opera, it’s necessary to have a lot of cooks. You’ve got the conductor and the director and the set designer and the costume designer and sometimes the choreographer. Everybody wants to explain their point of view, and then you have to take all of those things and add a little bit of yourself. That’s the nature of opera.

Why do you think composers wrote young men’s roles for women’s voices?

It’s a mix of things. Some of Mozart’s trouser roles were originally sung by countertenors and some weren’t. Now we’re in an age when we’ve got a lot of countertenors but there was a time when we didn’t. A lot of the Handel roles were for castrati, who, thank God, don’t exist anymore. I think the inno-

The other di∂erence between opera and recitals is sound. The amount of sound you have to put out in an opera is a lot bigger – there’s an orchestra and usually the halls are larger. You tend to need more days o∂ between opera performances. It’s like revving up for a marathon. I rarely do recitals within two weeks of an opera because I find the adjustment extremely di∑cult – to get my

voice “calmed down.”

You’ve worked with so many illustrious musicians. Who stands out as an inspiration?

I led a very charmed life early in my career. I’d be working with people who were 10 to 20 years older than me, which was incredibly intimidating.

Deep down I didn’t know what I needed to know, but you can’t let that on when you’re hired for a job. You learn very fast to be quiet and observe. I got to work with Joan Sutherland very early. She’s a fabulous person and amazing to work with. She is incredibly calm. There were no histrionics. Her energy went into her sound. I also did a very small role in another opera – actually Bruce Ford [Tito] was in this opera too; we each had maybe three lines.

Marilyn Horne and Federica von Stade were two of the other singers! I remember going to the first rehearsal – I think I was 22 or 23 – and when they opened their mouths it just sounded so easy, like velvet! That was a great lesson. To me it didn’t feel easy.

Is your voice still changing?

Oh, yeah. Women’s voices change throughout life because of our hormones. My voice was kind of high and thin until I had my son when I was 31.

Suddenly it was as if I had a di∂erent instrument. It was rich and dark. I’m not there yet, but when women reach menopause, their voices can get a little wobbly or not as free. The aging of the voice is more obvious in women than in men.

Right now I’m probably the happiest I’ve been with my voice. I used to sing almost 11 months a year. I don’t do that anymore. I have a 13-year-old son, so I want to be home more, and I teach now.

I like the balance of teaching and performing. I just sing the engagements I really want to sing. I think that helps my voice.

What do you do on a regular basis to maintain your technique?

It’s terrible to say, but I’ve never been a Conversation continues on page 19

15 • l a c l e m e n z a d i t i t o

by Stephanie Wendt

For more biographical information about these artists, visit our website at www.mnopera.org

t h e m i n n e s o t a o p e r a • 18

The Artists Bruce Ford Tito Minnesota Opera Debut The Abduction of Figaro, 1984 Recently The Barber of Seville, Opéra de Monte Carlo Tancredi, Teatro Malibran (Venice) Armida, Edinburgh Festival Upcoming The Barber of Seville, Opéra National de Paris (Bastille) Don Giovanni, Glyndebourne Festival La clemenza di Tito, Royal Opera House – Covent Garden Ermione, Dallas Opera

Susanne Mentzer Sesto Minnesota Opera Debut Recently Ariadne auf Naxos; Pelléas et Mélisande; Der Rosenkavalier; Les contes d’Ho∂mann; others, Metropolitan Opera Idomeneo, Sächsische Staatsoper (Dresden) Les nuits d’été (Berlioz), Orchestre de Paris Un giorno di regno, Royal Opera House – Covent Garden I Capuleti e i Montecchi, Los Angeles Opera Upcoming Falsta∂, Metropolitan Opera Les contes d’Ho∂mann, Opéra National de Paris

Ana Rodriguez Servilia Minnesota Opera Resident Artist Recently Gianni Schicchi; Carmen; Le nozze di Figaro; L’enfant et les sortilèges, Orlando Opera Company La bohème, Opera North (New Hampshire) Cinderella; Toy Shop, Cincinnati Opera E & O Cherubin, IVAI (Tel Aviv) L’elisir d’amore, Cincinnati College Conservatory of Music Amore e guerra, Opera Theater of Lucca (Italy) Upcoming La bohème; Little Women; Don Carlos, The Minnesota Opera

Harry Bicket Conductor Minnesota Opera Debut Recently Agrippina, Glimmerglass Opera Giulio Cesare, Teatro del Liceu (Barcelona); L. A. Opera Rinaldo, New York City Opera; Bayerische Staatsoper La clemenza di Tito, Edinburgh Festival; New York City Opera Le nozze di Figaro, Glyndebourne Festival Upcoming La clemenza di Tito, Welsh National Opera L’incoronazione di Poppea, New Israeli Opera (Tel Aviv) Ariodante, Bayerische Staatsoper (Munich)

Stephen Lawless Stage Director Minnesota Opera Debut Recently Griselda, Staatsoper (Berlin) The Flying Dutchman, New York City Opera Salome, Stadttheater Bühnen (Nürnburg) Don Pasquale, Los Angeles Opera Il trovatore, GöteborgsOperan Upcoming Der Ring des Nibelungen, Stadttheater Bühnen (Nürnburg) Die Fledermaus, Glyndebourne Festival La clemenza di Tito, Royal Opera House – Covent Garden

Tom Watson Wig Master and Makeup Minnesota Opera Debut The Pearl Fishers, 1986 Recently Opera Theatre of St. Louis (season) Santa Fe Opera (season) The Minnesota Opera (1986-2001 seasons) Metropolitan Opera (season) Jane Eyre; Dirty Blonde, (Broadway) Upcoming La bohème; Little Women; Don Carlos, The Minnesota Opera

Brenda Harris Vitellia Minnesota Opera Debut Armida, 1993 Recently La clemenza di Tito, Metropolitan Opera Otello; Così fan tutte, Atlanta Opera Norma, Opéra de Québec Semiramide; La traviata; others, The Minnesota Opera Upcoming Agrippina, New York City Opera Vanessa, Opéra National du Rhin (Strasbourg)

Lori-Kaye Miller Annio Minnesota Opera Debut Macbeth, 2000 Recently Le nozze di Figaro, El Paso Opera Il re pastore, Lake George Opera Festival Die tote Stadt, New York City Opera Le nozze di Figaro; 2000 Resident Artist, The Minnesota Opera Carmen; Madame Butterfly; The Magic Flute; Kismet; Roméo et Juliette; Così fan tutte; others, Tri-Cities Opera Upcoming Adriana Lecouvreur, Opera Orchestra of New York

Alfred Walker Publio Minnesota Opera Debut Recently Don Giovanni, Opera North (New Hampshire) Salome, Tanglewood Music Festival Madame Butterfly; Lady Macbeth of Mtsensk; Pelléas et Mélisande; others, Metropolitan Opera The Rake’s Progress; The Magic Flute, Wolf Trap Opera Upcoming Il trovatore, Tulsa Opera Lakmé, Opera Ontario Béatrice et Bénédict, New York Philharmonic

Benoît Dugardyn Set Designer Minnesota Opera Debut Recently Dal male il bene, Innsbruck Festwochen Cavalleria rusticana/Pagliacci, Théâtre de la Monnaie (Brussels) Lady Macbeth of Mtsensk, Teatro del Liceu (Barcelona) Salome, Stadttheater Bühnen (Nürnburg) Il trovatore, L. A. Opera; Washington Opera; GöteborgsOperan Upcoming Der Ring des Nibelungen, Stadttheater Bühnen (Nürnburg) Die Fledermaus, Glyndebourne Festival La clemenza di Tito, Royal Opera House – Covent Garden

Joan Sullivan-Genthe Lighting Designer Minnesota Opera Debut Recently Madame Butterfly; Così fan tutte; Le nozze di Figaro; The Consul; Le Cid; Tristan und Isolde; Giulio Cesare; Tosca; others, Washington Opera Il trovatore, GöteborgsOperan (Sweden) Die Meistersinger von Nürnberg; Aida; others, Seattle Opera Dialogues des Carmélites, Le Grand Théâtre de Genève The Rake’s Progress, New York City Opera Upcoming Salome; Pique Dome; Tour to Japan, Washington Opera

Sue Willmington Costume Designer Minnesota Opera Debut Recently Die Schweigsame Frau; Don Carlos, Zurich Opera Showtime at the Stadium; Love in a Wood; The Duchess of Malfi; Don Carlos; The White Devil; Richard II; Measure for Measure; The Merchant of Venice, Royal Shakespeare Co. Capriccio, Teatro Regio (Turin) Genoveva, Prague State Opera; Opera North (England) Eugene Onegin, Opera North (England) Il seraglio, Opéra National du Rhin (Strasbourg) Nabucco; Fidelio, Bregenz Festival

Conversation continued from page 15 19 • l a c l e m e n z a d i t i t o

person who practiced. I spend time learning music, which is di∂erent. To get it into my voice, I’ll use the rehearsal period; that’s what the rehearsal is for. You have to see what your colleagues are doing. It’s very much a reactive art form.

What musical and career advice do you give your students?

I do tell them that most people are born with their instruments. You can’t really teach someone to have an operatic sound. I teach them how to lose the bad habits. I teach them to get in touch with what they’re doing physically – every little movement in their throat and nose and head – so when they’re o∂ on their own they can self diagnose. I’m not too hard on them about interpretation. I want them to figure it out, understanding that every time they sing a role it might mean something di∂erent.

Your artistry changes as you get older and have life experiences.

What do you tell students about the career itself?

There was a point about 10 years ago when I thought I could never teach because I was too burned out by the toll singing took on my life. I’ve been divorced and it’s hard to raise a child as single mom. The father is in the picture, but there’s a lot of heartbreak. You have to live a lot of time away from people you love, so it’s hard to tell impressionable young singers, “Go ahead and do this.” But then again I don’t want them to think they have to have a cloistered existence to be a singer. It’s not like that anymore. It’s possible to sing and be a parent, and I think parenthood enhances your art.

How do you restore yourself?

Not enough. I was doing yoga, and that helped me a lot. What rejuvenates me most is having time o∂, especially when I have two or three weeks at home in one block. The other thing is teaching at Aspen. This will be my third summer. It’s beautiful. Clean air, lots of exercise, being able to sing chamber music without critics around, wearing jeans and a t-shirt. You work with great students. Your colleagues are all at the top of their fields. It’s a fairyland out there.

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t h e m i n n e s o t a o p e r a • 20

Opera Broadcasts The Minnesota Opera’s 2001-2002 season opera broadcasts on NPR-a∑liate Minnesota Public Radio (KSJN 99.5 FM in the Twin Cities) have been scheduled in a special five-week festival broadcast from May 19-June 16, 2002.

As broadcast details are available, they will be posted on the Opera’s web site, www.mnopera.org/broadcasts.htm

Opera Seria continued from page 14

and Franz Joseph Haydn. The libretti also served the political interests of the reigning monarch – there was rarely a story line that didn’t feature a benevolent ruler faced with di∑cult issues who eventually triumphs. The Hapsburgs used them with great frequency for celebrating birthdays, namedays, weddings and other festive occasions.

By mid-century, however, the winds of change were in the air. After 1744 Metastasio only produced eight new libretti, as the Hapsburg monarchy was plagued by financial di∑culties and wars with Prussia, and Metastasian personages lacked contemporary relevance. The rising vogue for comic opera was evidenced by Joseph ii’s preferences, made clear as early as 1764, and his unwillingness to pay the high fees demanded by opera seria singers. New reforms were again taking place – Christoph Willibald Gluck (1714 – 1787) and his librettist Ranieri de’ Calzabigi (1714 – 1795) broke the Metastasian mold by cutting the excesses that it had spawned, namely the bastardization of the aria, as dictated by the reigning doyens of the 18th century, the castrati. Embellishments were carefully notated and new aria forms were explored, namely the two part slow-fast option, as well as other practices borrowed from serious opera’s comic cousin, opera bu∂a. By restoring a more even balance between music and poetry, as was prescribed by the Florentine Camerata and ultimately the ancient Greeks, Gluck achieved greater dramatic truth and declamation, which led to more natural characterizations as op-

The Minnesota Opera announces

The President’s Circle Kevin Smith celebrates 20 years with The Minnesota Opera by welcoming the inaugural members of his President’s Circle. This planned giving program of The Minnesota Opera will keep the Opera thriving for future generations.

If your name has been accidentally omitted, or for more information about joining The President’s Circle, please call Bill Venne, Development Director, at 612-342-9565.

Anonymous (3) Mr. Rolf Andreassen Mary Andres Karen Bachman Patricia and Mark Bauer Mr.* and Mrs. Judson Bemis, Sr. Judy and Kenneth Dayton Dr. Paul Froeschl Nettie A. Grabscheild* Robert A. Green Norton M. Hintz Trust Charles Hudgins Mr. and Mrs. Dale Johnson Charlotte Karlen Mr. and Mrs. Steve Keller Gretchen Klein* Jerry and Joyce Lillquist Margaret and Walter Meyers Scott Pakudaitis Sydney M. and William S. Phillips Dr. Marian R. Rubenfeld Mary Savina Frank and Lynda Sharbrough Robert and Barbara Struyk Mary W.Vaughan Dale and Sandra Wick * deceased

posed to the seemingly stilted ones of Metastasio. The orchestra was given greater attention through use of orchestral color and the elevated status of the overture, now emotionally and thematically linked to the rest of the drama.

Mythological themes, banished by Arcadian thinking as being unnatural and unwieldy, made a return as part of a general renewed interest in classical themes, generated by the recently excavated ruins of Pompeii and a treatise issued by Johann Winkelmann, History of Ancient Art (1764).

These were the surroundings in which Mozart found himself when he began composing operas in the 1770s.

The immensity of the genre did not scare the dauntless teen as he tackled Mitridate, re di Ponto, a Metastasian storyline based on a play by Racine. Two years later he set an existing libretto by Metastasio, Il sogno di Scipione (1772), quickly followed by another Metastasian-inspired work, Lucio Silla (1772), and later yet another Metastasio libretto, Il re pastore (1775). Though these works are generally discounted as experimental, youthful works, they re-

veal much about Mozart’s approach to opera seria. His work to date would have significant bearing on his next great serious opera, Idomeneo, re di Creta (1781), another derivative of French classical theater. His librettist, Giovanni Battista Varesco, still used Metastasio as a model, but Mozart would utilize some of the reforms inspired by Gluck, notably the greater use of ensemble and chorus. These were the seeds of the more flexible approach to opera seria he would employ as he composed La clemenza di Tito 10 years later.

Elasticity was the lifeline of opera seria, and even though Metastasio died the following year, his libretti, albeit with adaptation, continued to be set into the early 19th century. By that point opera seria existed in name only and had morphed into something truly di∂erent in the nimble hands of Rossini during his years in Naples. What lay in that wake was the still-evolving Romantic melodrama, brought to fruition in the care of later Bel Canto composers Vincenzo B e l l i n i , G a e ta n o D o n i z e t t i a n d Giuseppe Verdi.

The Minnesota Opera Chorus James Plante Jill Sandager Steve Sandberg Bob Schmidt Sandra Schoenecker Anne B. Storlie James Valenti* Karen Weaver David Weller Karin Wolverton

Carlos Archuleta* Terry Beaudry Matt Boehler* Bryan Boyce Anna Brandsoy Michael Cain Julie Carpenter Genevieve Christianson Madeleine Cieslak Steve Dahlberg Wood Foster Paul Griggsby April Hanson Kate Haugen Robin Heggen Kathryn Jensen Georgette Johnson Naomi Karstad Ryan Kinsella* Elizabeth Longhurst Mike Lundin Bryan Maus Eric Mellum Mary Monson Justin Montigue Dawn Pierce

Supernumeraries Corey Anderson Ben Blair Joseph Botten Mario Diaz-Moresco** Robert Elliott Andy Flamm Phil Greenberg Daniel Gregg Dan Grider Joseph Johnson Michael Kelleher Steve Lewis Patrick Lopez de Victoria Steve Mosow David Ross Mark Rossman

21 • l a c l e m e n z a d i t i t o

Chorus

Paul Sabby Erik Stone Norm Tiedemann David Touchstone

Peasant Children Patrick Bromelkamp‡ Matthew Dickinson‡ Nicholas Earl Grace Forceia‡ Rosalie Graber‡ Grace Quiring‡ Eleanor Quiring‡

Pages Andy Eggum‡ Charlotte Zelle

Resident Artists covering principal roles Matt Boehler (Publio) James Valenti (Tito) *denotes Minnesota Opera Resident Artist **appears with The Minnesota Opera in conjunction with MacPhail Center for the Arts’s Prelude Program for talented young adults. ‡ students of New Breath Productions

THE SAINT PAUL CHAMBER ORCHESTRA ROSTER 2001 • 2002 Andreas Delfs, Music Director Nicholas McGegan, Baroque Series Director

Chair of the Board Lowell J. Noteboom

President and Managing Director Bruce Coppock

Violins

Cellos

Bassoons

Steven Copes, concertmaster

Peter Howard, principal

Charles Ullery, principal Carole Mason Smith

John M. and Elizabeth W. Musser Chair

Kyu-Young Kim, associate concertmaster John H. and Elizabeth B. Myers Chair

Leslie Shank, assistant concertmaster

Bill and Hella Mears Hueg Chair

Joshua Koestenbaum, associate principal Ruth and John Huss Chair

Sarah Lewis Daryl Skobba

Hulings Chair

Elsa Nilsson John Kennedy Brenda Manuel Mickens Nathan Cole, principal second violin Thomas Kornacker, co-principal second violin Carolyn Gunkler, assistant principal second violin Michal Sobieski Daria T. Adams Frieda Tso-Ning Fan

Violas Sabina Thatcher, principal Evelina Chao, assistant principal Tamas Strasser, co-principal Alice Preves

Basses Christopher Brown, principal Fred Bretschger, assistant principal

Flutes

Horns Herbert Winslow, principal Paul Straka

Trumpets Gary Bordner, principal Lynn Erickson*

Harpsichord & Piano Layton James, principal

Julia Bogorad-Kogan, principal Alicia McQuerrey*

Timpani & Percussion

Oboes

Extra Musicians:

Kathryn Greenbank, principal† Andrea Banke, guest principal Thomas Tempel

Clarinets Timothy Paradise, principal Philip H. and Katherine Nason Chair

Marlene Pauley*

Earl Yowell, principal Coreen Nordling, bassoon

Proceeds help support Courage Programs and you can receive a tax deduction based on fair market value.

763-520-0540

* regular additional musicians † on leave for the 2001-2002 season

www.courage.org

t h e m i n n e s o t a o p e r a • 22

Staff President & CEO . . . . . . . . . . . . . . . . . . . . . Kevin Smith Artistic Director . . . . . . . . . . . . . . . . . . . . . Dale Johnson General Manager . . . . . . . . . . . . . . . . . . . John Humleker

Stitchers . . . . . . . . . . . . . . .Jennifer Dawson, Stephanie Molstad, Stephanie Vogel, Deborah Zawada

Artistic

Scenic and Lighting Director . . . . . . . . . . . . . . . . . . Tom Mays Technical Director . . . . . . . . . . . . . . . . . . . . . . . . Stuart Schatz Scenic Administrator . . . . . . . . . . . . . . . . . . . . Holly Carpenter Assistant Lighting Designer . . . . . . . . . . . . . . .Nicole Simoneau Properties Master . . . . . . . . . . . . . . . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . . . . . . . . . . . . . . . . . . Mike Long Charge Painter . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Bolin Scenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra Jensen Production Carpenter . . . . . . . . . . . . . . . . . . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . . . . . . . . . . . . . . . . . . Rod Aird Carpenters . . . . . . . . . . . . . . . . . . . . . . Patrick Dzieweczynski, Mike McQuiston, Steve Rovie

Scenery

Artistic Administrator . . . . . . . . . . . . . . Roxanne Stou∂er Cruz Artistic Associate . . . . . . . . . . . . . . . . . . . . . . . Floyd Anderson Education Coordinator . . . . . . . . . . . . . . . . . . . Holly Carpenter Dramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Sander Production Stage Manager . . . . . . . . . . . . . . . Alexander Farino Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . Yasmine Kiss Assistant Stage Manager . . . . . . . . . . . . . . . . . . .Lee Henderson Resident Artist Music Director . . . . . . . . . . . . . . .Bruce Stasyna Chorusmaster/Head Coach . . . . . . . . . . . . . . . . . Joseph Lawson Resident Artist Instructors . . . . . . . . . . .Carlotta Dradi, Barbara Kierig, Peter Rothstein, Doug Scholz-Carlson, Nancy Tibbetts Resident Artists . . Carlos Archuleta, Matthew Boehler, Je∂rey Domoto, Ryan Kinsella, Laura Loewen, Ana Rodriguez, James Valenti Education Personnel . . . . . . . . . . . . . . . Raymond Berg, Peggy Endres, Kenny Kiser, Janet Paone, Je∂ Richman, Joseph Schlefke, Elise Skophammer, Roger Skophammer, Casey Stangl, Ed Williams, Joan Womeldorf Stage Management Intern . . . . . . . . . . . . . . . . . . . . . . . .Julia Carlis Mentor Connection . . . . . . . . . . . . . . . . . . . . . . . . . .Megan Furman

Costumes Costume Director . . . . . . . . . . . . . . . . . . . . . . . . Gail Bakkom Assistant Costume Director . . . . . . . . . . . . . . . . . Beth Sanders Drapers . . . . . . . . . . . . Chris Bur, Angela Patten, Yancey Thrift First Hands . . . . . . Helen Ammann, Mark Heiden, Valerie Hill Wig/Makeup Assistants . . . . . . . . . . . . Jason Allen, Jodi Heath, Emily Rosenmeier

Administration Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . . . . . Steve Mittelholtz Accounting Associate . . . . . . . . . . . . . . . . . . . . . Jennifer Thill Events/Volunteer Coordinator . . . . . . . . . . . . . . . . Sarah Curtis

Development Development Director . . . . . . . . . . . . . . . . . . . . . . . Bill Venne Institutional Gifts Manager . . . . . . . . . . . . . . . . . . Jaime Meyer Executive/Development Assistant . . . . . . . . . . . Theresa Murray

Marketing/Communications Marketing and Communications Director . . . Glyn Northington Communications Manager . . . . . . . . . . . . . . . . . . . Lani Willis Ticket O∑ce Manager . . . . . . . . . . . . . . . . . . . . . . Jason Young Receptionist/Information Specialist . . . . . . . . . . . . . Malia Long

MINNESOTANS UNDERSTAND

A tale of compassion and hope.

THE VALUE THE ARTS BRING TO ITS COMMUNITY. U.S. Trust proudly supports The Minnesota Opera — a Minnesota tradition.

For information on our array of wealth management services, please call 612-338-7881 or visit www.ustrust.com.

A Fairy Tale Ballet for Children byWilor Bluege

February 15-17, 2002 Tickets: 612-673-0404, www.ticketmaster.com or visit The O’Shaughnessy box office.

Minneapolis: 612-338-7881

St. Paul: 651-298-1441 www.stanthonydance.org

t h e m i n n e s o t a o p e r a • 24

Coming Up:

The Minnesota Opera revives its own 1996 production La bohème this March, set in the 1840s Latin Quarter of Paris. Mimì, Rodolfo and their spirited Bohemian friends learn life’s most important lessons in Puccini’s sweetest love story, the tale that inspired the Broadway musical Rent and the world of Hollywood’s Moulin Rouge.

“There’s no mystery why La bohème returns to opera stages around the world,” said Artistic Director Dale Johnson. “Puccini captures the love and ardor of youth and reminds us all of the first time we fell in love. This is a perfect opera — there’s not a wasted note.”

March 2, 3, 5, 6, 7, 8, 9, 10 at Ordway Center Call 651.224.4222 for tickets To learn more about La bohème ...

Please visit our web site at www.mnopera.org or consider the opportunites listed below. On the web site you will find casting updates, artist biographies, synopses, background notes, suggestions for further reading and listening, ticketing services and other company information.

Adult Education Class

Opera Insights

A class devoted to La bohème will be held on Monday, February 11, 2002, from 7:00-9:00 p.m. at The Minnesota Opera Center, 620 North First Street in the Minneapolis Warehouse District. Call 612-342-9575 for registration information.

One hour prior to each performance, join Artistic Director Dale Johnson and/or other members of the artistic sta∂ and the Resident Artists for a 30-minute introduction to the work. Opera Insights are free and held in Ordway Center’s mezzanine lobby.

t h e m i n n e s o t a o p e r a • 26

The Minnesota Opera Fund Individual Donors: The Camerata Circle The Camerata Circle is The Minnesota Opera’s highest category of personal support. With this designation, we recognize these very special friends for their commitment to the tradition of opera in our community.

Platinum Mrs. Judson Bemis, Sr. Mary and Gus Blanchard Judy and Kenneth Dayton Dolly J. Fiterman John and Ruth Huss Heinz and Sisi Hutter The Art and Martha Kaemmer Fund of HRK Foundation Constance and Daniel Kunin Patricia Lund Mr. and Mrs. Walter S. Meyers Mrs. George T. Pennock Mary W. Vaughan

Mrs. John M. Musser† Bruce and Sandra Nelson Jose Peris and Diana Gulden Rebecca Rand and E. Thomas Binger Connie and Lew Remele Mr. and Mrs. Steven Rothschild Walter B. Saunders Fred and Gloria Sewell Virginia L. and Edward C. Stringer Gregory C. Swinehart Tanrydoon Fund of The Saint Paul Foundation C. Angus and Margaret Wurtele

Gold

Silver

Anonymous Mary A. Andres August J. Aquila and Emily Haliziw Karen Bachman David Hanson and William Biermaier Mr. and Mrs. James Binger Rod and Susan Boren Darlene J. and Richard P. Carroll Sally J. Economon Rolf and Nancy Engh N. Bud and Beverly Grossman Foundation Alfred and Ingrid Lenz Harrison Lucy Rosenberry Jones Bryce and Paula Johnson Michael F. and Gretchen S. Kelly Warren and Patty Kelly Ed and Pat Kerans Peter J. King Thomas and Barbara McBurney Diana and Joe Murphy

Anonymous (2) John Andrus, III Martha and Bruce Atwater Patricia and Mark Bauer Joseph and Judy Carlson William Voedisch and Laurie Carlson Rachelle Dockman Chase Burt and Rusty Cohen Ellie and Tom Crosby, Jr. Rondi Erickson and Sandy Lewis Mr. and Mrs. John Forsythe Connie Fladeland and Steve Fox Leslie and Alain Frécon James Fulton R. Thomas Greene, Jr. Stephen and Patricia Haynes Roger W. Hollander Jay and Cynthia Ihlenfeld Gerald Johnson Stan and Jeanne Kagin Mrs. James S. Kochiras Mr. and Mrs. Ted Kolderie

Benefactors

John G. and Ida J. Davies Judson and Elizabeth Dayton The Denny Fund of The Minneapolis Foundation Thomas and Mary Lou Detwiler Mr. and Mrs. Steven A. Diede Mr. and Mrs. Carl B. Drake, Jr. Joyce and Hugh Edmondson Ester and John Fesler Henry and Anice Flesh Patricia R. Freeburg Lois and Larry Gibson Mr. and Mrs. John F. Grundhofer Don and Arlene Helgeson Charlotte Karlen Mr. and Mrs. Erwin Kelen Maria Kochiras

Anonymous Eric and Donna Aanenson Kim A. Anderson Paula A. Anderson An Anonymous Gift from a Donor Advised Fund of The Saint Paul Foundation Dr. and Mrs. Thomas C. Bagnoli Amy and Ford Watson Bell in honor of Elinor W. Bell John and Jennifer Bernstein Dr. and Mrs. Jim Burdine Ralph and Kathleen Cadmus Joann M. D. Cierniak Je∂ and Barb Couture

Lynne Looney Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Roy and Dorothy Ann Mayeske Mary Bigelow McMillan Robb and Lynne Morin Nelson Family Foundation on behalf of Glen and Marilyn Nelson William and Barbara Pearce Marge and Dwight Peterson Jodi and Todd Peterson Lila and Bruce A. Priebe Kim and John Puckett Lois and John Rogers E. Elaine and Roger Sampson Frank and Lynda Sharbrough Renate M. Sharp Kevin and Lynn Smith Mrs. Irene G. Steiner Charles Allen Ward Fund of The Saint Paul Foundation

Bronze Anonymous Chloe D. Ackman Cordelia Anderson and John Humleker Elizabeth Andrus Mr. and Mrs. Edmund P. Babcock Alexandra O. Bjorklund Mr. and Mrs. Paul G. Boening Elwood F. and Florence A. Caldwell Joseph and Judy Carlson David and Jane Cooper Dr. James E. and Gisela Corbett Dr. Susan and Richard Crockett Mrs. Thomas M. Crosby, Sr. Mary Lee and Wallace Dayton Cy and Paula Decosse Fund of Lisa C. Kochiras Helen L. Kuehn Mr. and Mrs. Clinton Lee Ilo and Margaret Leppik Jerry and Joyce Lillquist Bill Long Mrs. Malcolm S. Mackay Dan and Sue Malina Margery Martin Samuel D. and Patricia McCullough Mary McDiarmid James P. McFarland Mrs. John H. Myers Albin and Susan Nelson Timothy and Gayle Ober Allegra Parker

The Minneapolis Foundation Lori and Tom Foley Bradley A. Fuller and Elizabeth Lincoln Mr. and Mrs. R. James Gesell Ieva Grundmanis Rosalie He∂elfinger Hall Fund of The Minneapolis Foundation Cli∂ton K. Hill and Jody Rockwell Dorothy J. Horns, M.D. and James P. Richardson Elizabeth A. Huey Jacqueline Nolte Jones Lyndel and Blaine King E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Mr. and Mrs. William Kling Benjamin Y. H. and Helen C. Liu Mr. and Mrs. Cargill MacMillan, Jr. David MacMillan and Judith Krow James and Judith Mellinger Tom Murtha and Stephanie Lenway Susan Okie Mr. and Mrs. William Phillips Norm Rickeman and Kathy Murphy John Rosse Burton G. Ross and Cynthia Rosenblatt Ross Fund of The Minneapolis Foundation Mr. and Mrs. John C. Rowland Lucy and Mark Searls Stanislaw and Krystyna Skrowaczewski James and Susan Sullivan Michael Symeonides Mr. and Mrs. George H. Tesar Catie Tobin and Brian Naas deceased

†

Karen B. Paul Frances and George Reid Ken and Nina Rothchild Mahlon and Karen Schneider Ralph S. Schneider and Margaret McNeil Stephanie Simon Helen and Je∂ Slocum Julie Jackley Steiner Don and Leslie Stiles Dr. Joseph Tashjian and Kay Savik Lois and Lance Thorkelson Bill Venne and Douglas Kline Ellen and Fred Wells Mr. and Mrs. F. T. Weyerhaeuser

The Minnesota Opera gratefully acknowledges the donors who have significantly increased their gifts in the last year.

In the lists above these donors are recognized in bold print for their support.

These lists are current as of December 31, 2001, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since January 1, 2001.

If your name is not listed appropriately, please accept our apologies, and call Bill Venne, Development Director of The Minnesota Opera, at 612-342-9565.

A Special Thank You!

The Minnesota Opera would like to extend a special thank you to Ecolab, sponsor for the 2001 Opening Night Gala, and to all those who participated in and contributed to the evening’s festivities. The gala was a huge success, thanks to all those who attended - both attendance and funds raised reached record levels. Don’t miss next season’s Opening Night Gala on Saturday, Nov. 9, 2002!

t h e m i n n e s o t a o p e r a • 28

The Minnesota Opera Fund Minnesota Opera Sponsors Season Sponsor

Production Sponsors

Camerata Dinners

U.S. Bancorp Piper Ja∂ray

Lucia di Lammermoor, U.S. Bancorp Piper Ja∂ray La clemenza di Tito, American Express Minnesota Philanthropic Program La bohème, Marshall Field’s Project Imagine Little Women, RBC Dain Rauchser

Rider, Bennett, Egan & Arundel

Gala Dinner Sponsor Ecolab

Opera Insight Lectures SpencerStuart

Corporations and Foundations Platinum 3M Accenture American Express Minnesota Philanthropic Program on behalf of American Express Financial Advisors and American Express Travel Related Services Co. Andersen Foundation James Ford Bell Foundation Blandin Foundation The Bush Foundation The Cargill Foundation Deloitte & Touche Deluxe Corporation Foundation Ecolab Foundation General Mills Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation Honeywell Foundation The MAHADH Fund of HRK Foundation The McKnight Foundation Marshall Field’s Project Imagine The Medtronic Foundation The Andrew W. Mellon Foundation Minnesota Monthly Minnesota State Arts Board ReliaStar Financial Corporation Skyway Publications, Inc. The St. Paul Companies Target Stores, Marshall Field’s and Mervyn’s with support from the Target Foundation

Transtop Twin Cities Opera Guild U.S. Bank Wells Fargo Foundation on behalf of: Wells Fargo Bank Minnesota Wells Fargo Brokerage Services Wells Fargo Institutional Investments Lowry Hill Wells Fargo Private Client Services West Group

Gold ADC Telecommunications, Inc. Bemis Company Foundation Dorsey & Whitney Foundation Ernst & Young R. C. Lilly Foundation Lutheran Brotherhood Foundation McGladrey & Pullen, LLP National City Bank Alice M. O’Brien Foundation PricewaterhouseCoopers LLP Rahr Foundation Rider, Bennett, Egan & Arundel Robins, Kaplan, Miller & Ciresi SpencerStuart Star Tribune Foundation Target Stores U.S. Bancorp Piper Ja∂ray Foundation on behalf of U.S. Bancorp Piper Ja∂ray Valspar Foundation Xcel Energy Foundation

Silver The Bayport Foundation Belford Foundation Best Buy Children’s Foundation Boss Foundation Curtis L. Carlson Family Foundation Chadwick Foundation Dellwood Foundation Digital Excellence Inc. Leonard, Street & Deinard J & H Marsh & McLennan Malt-O-Meal Company Mary Livingston Griggs and Mary Griggs Burke Foundation McNeely Foundation Moss & Barnett The Nash Foundation The Casey Albert T. O’Neil Foundation The Carl and Eloise Pohlad Family Foundation RBC Dain Rauscher Foundation Margaret Rivers Fund Schwegman, Lundberg, Woessner & Kluth, PA Sit Investment Associates Tennant Foundation School Arts Fund of United Arts/COMPAS U.S. Trust Company Wenger Foundation

Bronze Ceridian Corporation Faegre & Benson Hogan & Hartson

Hutter Family Foundation Mayo Foundation McVay Foundation Minnesota Mutual Foundation Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust in honor of Lawrence M. O’Shaughnessy The Jay and Rose Phillips Family Foundation The Elizabeth C. Quinlan Foundation St. Croix Foundation Charles B. Sweatt Foundation Tilka Design Tozer Foundation Walcro Inc.

Benefactors Alliance Capital Management Elmer L. and Eleanor J. Andersen Foundation Athwin Foundation Aveda Brock-White Co., LLC H.B. Fuller Company Foundation Horton, Inc. The Hubbard Foundation KPMG LLP Miller Meester Advertising Minnesota Trading Co. MSI Insurance Foundation Musicland Group, Inc. The Ritz Foundation The Southways Foundation