Minnesota Opera's La Traviata Program

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TRAVIATA Giuseppe Verdi

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TRAVIATA

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Giuseppe Verdi

Contents

The Minnesota Opera Sta∂ and Volunteers. . . . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Board of Directors and Committees . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 La traviata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Giuseppe Verdi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 The Real Traviata – Marie Rose Alphonsine Duplessis . . . . . . . . . 14 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Upcoming Resident Artist Performances at the MIA . . . . . . . . . . . . . 20 Coming Up: The Handmaid’s Tale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 The Minnesota Opera Chorus and The Saint Paul Chamber Orchestra . . . 24 The Minnesota Opera Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

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

Kevin Smith Dale Johnson Susan Boren

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the minnesota opera • 6

Staff Welcome to The Minnesota Opera’s 2002 – 2003 season and today’s production of La traviata. Since its inception in 1963, The Minnesota Opera has continued to build and enrich the cultural life in our community by producing outstanding and innovative operas and opera education programs that inspire and entertain. The U.S. Bank Private Client Group is proud to sponsor the 2002 – 2003 season. Sponsoring the opera season is just part of our commitment to the arts and the quality of life in our community. This year’s opera season celebrates the singer. However, every production involves an ensemble of individuals committed to a common goal. From the conductor to the costume designer, the team’s objective is to enhance the singer’s ability to convey emotion beautifully. At the U.S. Bank Private Client Group, we also embrace teamwork. Our team is comprised of individuals who are committed to meeting the financial needs of our clients. And it is the client who is at the center of all we do. We’re proud of our partnership with the Minnesota Opera and to be part of the team effort you’re about to experience. Enjoy the performance.

Jose A. Peris, Senior Vice President, Region Manager, U.S. Bank Private Client Group, and Minnesota Opera board member

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

Roxanne Stou∂er Cruz Artistic Associate . . . . . . Floyd Anderson Community Education Director . . . . . . . .

Jamie Andrews Dramaturg . . . . . . . . . . . . . David Sander Production Stage Manager . . . . . . . . . . . .

Alexander Farino Assistant Stage Managers . . .Kristen E. Burke, Kathryn E. Koch Head of Music . . . . . . . . . .Bruce Stasyna Coach/Accompanist . . . . . . . .Julian Ward Accompanist Intern . . . . .Jocelyn Drueck Resident Artists . . . . . . . . .Matt Boehler, Genevieve Christianson, Anna Jablonski, Daniel Montenegro, Andrew Wilkowske, Karin Wolverton, Christopher Zemliauskas Resident Artist Faculty . . . . . . . . . . . . .

Doug Scholz-Carlson, Miriam Scholz-Carlson, Chuck Hudson, Stuart Pimsler, Silke Schroeder, Nancy Tibbetts 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 Stitchers . . . . . . . . . . . . . . . .Jennifer Dawson, Stephanie Molstad, Stephanie Vogel Wig/Makeup Assistants . . . . .Jodi Heath, Charles LaPointe, Emily Rosenmeier

Scenery Scenic and Lighting Director . Tom Mays Interim Technical Supervisor . . Mike McQuiston Scenic Administrator . . . Holly Carpenter Properties Master . . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . Mike Long Charge Painter . . . . . . . . . . Debra Jensen Scenic Artists . . . . . . . . . . . .Taylor Long, Kathleen Sullivan Production Carpenter . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . Rod Aird Carpenters . . . . . . Patrick Dzieweczynski, Steve Rovie Assistant Lighting Designer . .Nicole Simoneau Administration Controller . . . . . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . .

Steve Mittelholtz Accounting Associate . . . . . Jennifer Thill Executive Assistant . . . . . Theresa Murray Development Vice President for Development . .Betsy Gardella Development Director . . . . . . Bill Venne Institutional Gifts Manager . . . Jaime Meyer Events/Volunteer Coordinator . . Sarah Curtis Development Assistant . . .Vicky Emerson Marketing/Communications Marketing Director . . . . . . . . . . .Carl Lee Communications Director . . . Lani Willis Ticket O∑ce Supervisor . . . Andrea Corich Receptionist/Assistant . . . . . .Malia Long

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

Ann Albertson Laurel Anderson Gerald Benson Matt Bluem Colleen Boyer Linda Brandt Jim Brownback Sue Brownback Joann Cierniak Tricia Clarke* Susan Cogger Caroline Coopersmith Lindsay Craig Beverly Dailey Jeanette Daun Lee Drawert Judith Duncan Sally Economon Mary Sue Fiola Hazel Francois Jane Fuller*

Joan Gacki (Volunteer Chair) Christine A. Garner Heather Gehring Juhi Gupta-Gulati* Mark Gustin Mary E. Hagen Travis Hanstad John Harris Kristen Heimerl Anne Hesselroth Alisandra Johnson Karen Johnson Nancy Johnson Jeanie Johnston Susan Kalmer Robin Keck Dianne Kelly Remigijus Klyvis Sam Kneiszler Eleanore Kolar Lucinda Lamont

Shirley Larson Rita Lavin Lisa Liveringhouse Rusty Low Jennifer Madvig Abby Marier Margery Martin Joan Masuck Mary McDiarmid* Beth McGuire Verne Melberg Warren Mitlyng Irma Monson Linda Morey Doug Myhra Dan Panshin Pat Panshin Melissa Peterson Sydney Phillips Bill Phillips Julia Porter Jack Richter

John Rosse Florence Ruhland John Sauer* Christine Sawatsky Bindi Shah Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Dawn Stafki Harry D. Swepston, III John Thompson Nicholas Trimbo Doris Unger Carolyn Wahtera Barbara Willis* Jeremy Wright Melissa Zschunke *Lead volunteer

Notes from the Leadership Welcome to The Minnesota Opera’s new production of La traviata. This company has a long history of building new productions, but this is the first opera in years designed solely by Minnesota Opera sta∂.

Our costume director, Gail Bakkom, is an amazing artist, as you will see in her 1912 period costumes. It was Verdi’s wish to clothe his realistic characters in contemporary garb. Gail’s costumes are as contemporary to our own day as the story can be told with sociological accuracy; pre-WWI Paris still had the demimonde society prevalent in Verdi’s time, and tuberculosis was still a killing disease. There was an explosion of art in that period – Art Nouveau – that echoed the vibrant Realist movement of the composer’s day (we have included artistic references to both periods in this performance program). Reflecting Paris as the height of fashion, Gail’s costumes are both more revealing and ornamented than their conservative British counterparts.

Tom Mays, our scenic and lighting director, created memorable lighting for Street Scene, La bohème, Little Women and The Merry Widow. Today you get to see his scenic artistry. Tom used the set of one of our retired productions as a spine and gave it new life, providing the perfect 1912 Paris environment for our singers to inhabit.

Photographs by early 20th century Eugène Atget and Art Nouveau architecture and design elements inspired his work.

I hope you enjoy the craft and creativity of these Minnesota Opera artists on sta∂.

Martha Goldberg Aronson Karen Bachman Richard P. Carroll Susan J. Crockett Ellie Crosby Rolf Engh Thomas J. Foley John G. Forsythe Steve Fox R. Thomas Greene, Jr. Heinz Hutter Paula Johnson Lucy Rosenberry Jones Michael F. Kelly, Jr. Sarah B. Kling Lynne E. Looney Thomas R. McBurney Diana E. Murphy Bruce Nelson Brian E. Palmer Jose Peris Connie Remele Steven M. Rothschild Virginia L. Stringer Catie Tobin Loren Unterseher

Kevin Smith, President and CEO

from Dale Johnson Welcome to La traviata, one of Verdi’s most memorable operas. This opera was written during his “middle period,” when Verdi began to experiment with new musical forms yet still observed the traditions of Bel Canto. In accordance with our artistic vision, we will be presenting what we think is a more historically informed version of the opera, without the standard cuts to the traditional slow/fast double aria formula common to Bel Canto operas (you may recall this format from this season’s Norma).

You also may notice some di∂erent ornamentation than you are accustomed to hearing – Maestro Will Crutchfield, who is a noted musicologist as well as conductor, has researched the performance practices of Verdi’s day and reveals some of these subtleties in executing the vocal line, long since fallen out of practice for the modern singer. As one of our Resident Artists aptly noted, the ornaments allow her to more clearly articulate and convey the meaning of the text, one of the hallmarks of the Bel Canto style as set forth by Rossini.

It is our intention with these performances to give you a feeling of what Verdi’s first audiences may have experienced. We hope you enjoy this telling of an old favorite.

Dale Johnson, Artistic Director

Officers Susan S. Boren, Chair John A. Blanchard, III, Vice Chair Lucy T. Searls, Secretary Patricia Bauer, Treasurer Kevin Smith, President & CEO Julia W. Dayton, Director Emeritus Mary W. Vaughan, Director Emeritus 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

2002–2003 Season Campaign Committees Tom McBurney, chair Board Division Virginia Stringer, chair Susan Boren Tom McBurney Steve Rothschild

Camerata Circle Division Jose Peris, chair Martha Aronson Karen Bohn Lynn Bowe Susan Crockett Corporate Division Ellie Crosby Rolf Engh, chair Paula DeCosse Tom Foley Tom Greene Jack Forsythe Lucy Jones Paula Johnson Nancy Nicholson Bruce Nelson Mahlon Schneider Catie Tobin Larry Youngblood Leadership Gifts Division Connie Remele, chair Dick Carroll Mike Kelly Kevin Smith

Artist Circle Division Sally Kling, chair Steve Fox Lynne Looney Brian Palmer Lucy Searls

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from Kevin Smith

Board of Directors

TRAVIATA

Music by Giuseppe Verdi Libretto by Francesco Maria Piave after La dame aux camélias by Alexandre Dumas fils (1849) World premiere at the Teatro La Fenice, Venice March 6, 1853 April 5, 6, 8, 10, 11, 12 and 13, 2003 Ordway Center for the Performing Arts Sung in Italian with English captions Conductor Stage Director Choreographer Set Designer Costume Designer Lighting Designer Wig Master and Makeup English Captions Production Stage Manager

Will Crutchfield Chuck Hudson Heidi Spesard-Noble Tom Mays Gail Bakkom Michael Murnane Tom Watson Christopher Bergen Alexander Farino

The Cast Violetta Valéry, a courtesan Judith Howarth* Patrizia Zanardi** Alfredo Germont Charles Castronovo* James Valenti** Giorgio Germont, Alfredo’s father Jason Howard Flora Bervoix, Violetta’s friend Anna Jablonski Gastone, Alfredo’s friend Dan Dressen Baron Douphol, Violetta’s protector Carlos Archuleta Marquis d’Obigny, Flora’s protector Andrew Wilkowske Annina, Violetta’s maid Genevieve Christianson Doctor Grenvil Matt Boehler Giuseppe, Violetta’s servant James Plante Messenger Bryan Boyce A party guest Michael Cain Servants, friends of Violetta and Flora, matadors, picadors, gypsies Setting: In and around Paris, 1912 *

performs April 5, 8, 10, 12 **performs April 6, 11, 13

La traviata is sponsored by The appearances of James Valenti, winner, Anna Jablonski, regional finalist, and Carlos Archuleta and Matt Boehler, 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.

Performances of La traviata are being taped for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities, in June 2003.

Parisian costume plates (1912–1914), 60 Plates by Georges Barbier et al, reprinted throughout this program courtesy of Dover Publications, Inc.

The Minnesota Opera season is proudly sponsored by U.S. Bank Private Client Group.

Northwest Airlines is the preferred airline of The Minnesota Opera.

OperaInsights is sponsored by SpencerStuart.

The 2002-2003 Camerata Circle Dinners are sponsored by Rider, Bennett, Egan & Arundel.

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

La

Traviata Giuseppe Verdi

W

ith Rigoletto and Il trovatore, La traviata c o m p l e t e s Ve r d i ’ s t r i o o f p o p u l a r

middle-period works that rapidly would make his n a m e s y n o n y m o u s w i t h I ta l i a n o p e r a . Th e s e operas evolved at an especially interesting point in Verdi’s personal life. Just a few years prior we fi n d t h e c o m p o s e r d e e p ly s u b m e r g e d i n h i s “galley years,” managing to produce two to Background Notes

by David Sander

three operas per year, in accordance with the insatiable demands of the Italian theater industry of the era. Although he had made a name for himself with works such as Nabucco, Ernani and Macbeth, he still did not have the degree of financial independence he desired. Yet La traviata, written in tandem with Il trovatore during the winter of 1852 – 53, would be the last of these operas written in relatively quick succession.

Back in 1847 Verdi had just completed Macbeth and was heading to London to stage his eleventh opera, I masnadieri. On his return he stopped in Paris to negotiate his first work for the Paris Opéra, a French translation and adaptation of his earlier opera I Lombardi.

He also met up with Giuseppina Strepponi, who had gone to Paris the previous fall to establish herself as a voice teacher.

She and Verdi had become acquainted during the production of Verdi’s first opera, Oberto, in which she was to sing the leading role. Though this engagement fell through, Strepponi would return to Milan to create the role of Abigaille in Verdi’s third (and first truly successful) opus, Nabucco. Already a skilled soprano knowledgeable in the theater business, Strepponi was useful in advising and advancing the young composer’s career. They soon established a

romantic liaison that continued during Verdi’s Paris séjour. There he would remain, and the couple eventually were able to live together openly in the city’s more permissive climate.

The year 1847 also marked the passing of a famous Parisian figure, Marie Duplessis. Her meteoric rise to notoriety as one of the city’s most sought-after courtesans was accomplished in just a few years, and her life was brief but furious – she died at the age of 23. Strepponi may have seen her at the Paris Opéra, where both frequently attended.

In any event, she was the talk of the town, and Verdi likely would have heard about it. One of Duplessis’s many lovers, Alexandre Dumas fils (not to be confused with his father, Alexandre Dumas père, author of The Count of Monte Cristo and The Three Muskateers) produced a loosely autobiographical novel of their

eleven-month a∂air, which was published the following year. Though the popular novel was quickly dramatized (as was the custom), the resulting play remained unproduced due to problems with the censors. The triumph of the Second Empire led to more lax definitions of decency, and the drama was allowed to go on at the Théâtre du Vaudeville on February 2, 1852, five years almost to the day after Duplessis’s death. Its shocking topicality made it a sensation overnight – several real-life characters were surely in the audience.

During those years, several important events took place. In response to the revolution that rocked Paris and especially Italy in 1848, Verdi composed a blatantly political opera, La battaglia di Legnano. Curiously, it was one of his last of this type – the ultimate failure to establish Italian independence (at least for the

moment) caused Verdi to find refuge within his soul. His next three works, Luisa Miller, Sti∂elio and Rigoletto, were domestic tragedies, looking inward to human emotional relationships. Perhaps they are indicative of his own strife at the time, dealing with his parents, his inlaws and his neighbors.

Verdi’s lust to own land finally was satisfied during this period – borrowing heavily from his father and other creditors, he purchased three parcels of ancestral soil near his childhood town of Busseto, which would become his future and final residence, Sant’Agata. In order to finance the venture, his parents sold their home and took up residence in the farmhouse. During the summer of 1849, Verdi and Strepponi decided to leave Paris and reside in Busseto, where he had also purchased a palazzo in the heart of the city. Strepponi dutifully followed the man of her life back to Italy. Little did she know what would await her there.

Life had been arduous for Strepponi.

Her father died when she was seventeen, leaving his widow to support five children. At that time Strepponi was a promising voice student and would make her debut two years later. Expected to provide for the family, she accepted many engagements, which involved mutual favors in the less morally bound operatic arena. As a result, she had a series of unplanned pregnancies, which disrupted her singing contracts and weakened her health.

(Once she was required to sing six performances of Norma in the same week during her first trimester!) By the middle of the 1840s Strepponi’s voice was in ruin, which led her to pursue another career in Paris. Verdi never judged her for her past, and she was grateful for his unflinching devotion.

Where Paris may have indulged their relationship, Busseto was quite the opposite. In the small town, gossip traveled swiftly, and when the town hero returned and resided with a woman not his wife, the villagers quickly turned

against her. Foremost in their disdain were Antonio Barezzi, Verdi’s early benefactor and father of his first wife, and Verdi’s own parents, who were devout Catholics. Strepponi and Verdi lived in the palazzo for 16 months, but while he could find escape, either in composing or traveling to mount productions in other cities, she was virtually an outcast, exiled in a sea of hatred.

During this tumultuous period, we see the darker side of Verdi’s personality.

He broke o∂ all contact with his parents during the winter of 1850. Though he was still very much financially indebted to them, he served them notice of impending eviction from Sant’Agata, even though they were in their sixties and in ill-health with no place to go. Verdi and Strepponi took residence in the small farmhouse in May. With the extended family still surrounding Verdi’s hereditary estate, the couple didn’t quite find the solace they had sought. In December, 1851, they returned to Paris for several months.

During this time, Verdi negotiated another deal with the Paris Opéra (which would become Les vêpres siciliennes) and, presumably, saw Dumas’s play. Verdi had already read the novel, and by the fall of 1852, had selected it as a subject to fulfill a contract with Venice’s Teatro La Fenice.

But Verdi had to finish another commission first, one for the Teatro Apollo in Rome. No two works could be more di∂erent than Il trovatore and La traviata, written so closely together, the former of the wildly romantic, melodramatic variety popular in the earlier part of the century (Salvadore Cammarano, the quintessential adapter of this type of drama, served as the librettist). It is significant that the composition overlapped, showing the full breath of the composer’s inherent talents.

As a consequence of his focus on Il trovatore, Verdi missed a very important deadline – January 15, 1853. This was the date set forth in his contract as to

when the composer could accept or reject the principal singers signed by La Fenice’s management. As the commission for what would become La traviata had come the previous May, late in the theatrical season, Verdi could not have the cast of his own choosing as they were already engaged elsewhere. He was not diametrically opposed to Fanny SalviniDonatelli as the first Violetta, but he hoped to see how the La Fenice season played out before finally accepting her.

As it happened, the stagione didn’t fare so well; a new opera by Carlo Bosoni had failed miserably and was quickly replaced by a hastily assembled revival of Ernani. Another production earlier in the season, in which Salvini-Donatelli had performed, also had gone poorly, though not by any fault of the soprano.

Coupled with these events was an anonymous poisoned-pen letter Verdi received in February sniping that his new opera was doomed to fail. Verdi took hold of this notion and was convinced La traviata would fall to its knees.

Francesco Maria Piave’s libretto survived the censors surprisingly intact (one of the reasons this particular work was chosen for Venice) – they only required the title, Amore e morte, be changed – but the theater’s management had its own concerns about the present-day subject matter, relatively uncharted territory in the world of opera at that time. Fearing their chorus of locals might expose their unsophisticated trappings in contemporary dress, at the last minute the impresario decided to put the whole company in Louis xiv costume, a distancing technique that had proven successful. This naturally enraged Verdi, who was now certain the premiere would be a fiasco.

To his shock, the opening night began with applause for the prelude and most of the Act i numbers, concluding with Salvini-Donatelli’s expert delivery of Violetta’s aria “Sempre libera.” But during Act ii things began to go astray. Felice Background Notes continue on page 20

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[Verdi’s] next three works, Luisa Miller, Stiffelio and Rigoletto, were domestic tragedies, looking inward to human emotional relationships. Perhaps they are indicative of his own strife at the time, dealing with his parents, his in-laws and his neighbors.

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

Synopsis act i late night soirée is in progress at the home of Violetta Valéry. GasA tone presents to his hostess Alfredo, an admirer. It is soon learned that, while Violetta was recently taken ill, Alfredo visited her home daily for hopeful news of her recovery. Violetta retorts that it is more attention than she had received from her current protector, Baron Douphol, who is incensed by the behavior of the youthful upstart. When the Baron declines to make the evening toast, Violetta gives the honor to Alfredo.

As the guests retire to the ballroom, Violetta feels faint and rests for a moment. Alfredo lingers behind and soon professes his love for her. Friendship is all she can o∂er, but as he leaves, she gives him a flower from her breast and tells him to return when it has faded.

As dawn approaches, the guests bid adieu, and Violetta reflects on the feelings Alfredo has aroused within her heart. She ponders whether or not she could ever give up her life of pleasure for true love.

rent lifestyle. Intending to set things right, Alfredo rushes back to Paris.

Violetta receives an invitation to a party that evening thrown by friend and fellow courtesan, Flora Bervoix. Violetta laughs at the notion of returning to her former life. She is then visited by Giorgio Germont, Alfredo’s father, who reb u k e s h e r f o r r u i n i n g h e r s o n.

Impressed by her graciousness in the face of his own rude behavior, Germont soon learns of Violetta’s footing the bill and of how she intends to put her past behind. Still, he presses his case – his other child, a daughter, is about to marry but the union is in jeopardy as Alfredo’s relationship with Violetta is causing a scandal for the family. It must be broken o∂.

Reluctantly Violetta agrees, but Germont must promise to one day tell Alfredo of her sacrifice. She responds to Flora’s invitation, then dashes o∂ a farewell note to Alfredo. Upon receiving the letter, Alfredo is heartbroken and comforted by his father, who urges him to return to their home in Provence. Instead, an enflamed Alfredo pursues Violetta, suspecting she has returned to her former life and lover.

— intermission — act ii Scene one It is several months later, and Violetta and Alfredo are deeply in love.

They have abandoned city life, taking residence in Violetta’s country home.

Alfredo soon learns from Annina that Violetta has had to sell many of her possessions in order to maintain their cur-

Scene two That evening at the party, Flora and her guests gossip over Violetta and Alfredo’s recent split. After a brief diversion of dancing gypsies and matadors, Alfredo shows up unexpectedly.

Violetta and the Baron arrive shortly thereafter, and Alfredo sends Violetta several bitter jibes, which enrages the Baron. He challenges Alfredo at the gaming tables, yet Alfredo is consis-

tently the winner. As the guests retire to the dining room, Violetta pulls Alfredo aside and urges him to leave. He asks if she truly loves the Baron, and she continues her deception, saying yes. Alfredo calls everyone before him and throws his winnings at Violetta, declaring he has paid for her services in full.

Giorgio Germont enters at that same moment and shames his son for the improper outburst. The Baron, demanding satisfaction for such an insult, challenges Alfredo to a duel.

— intermission — act iii Several months later, Violetta lies in her bed, desperately weak from the final stages of consumption. Doctor Grenvil attends her, but confides in Annina that the end is near. Violetta rereads a letter from Giorgio Germont – Alfredo wounded the Baron during the duel and was forced to go abroad.

As promised, Germont told his son of her sacrifice, and he is hurrying back to beg her forgiveness. Violetta fears that he will not return in time, yet moments later he rushes to her side. Reunited, the lovers ecstatically plan for the future, and Violetta tries to rise but cannot summon the strength. As a last gesture of love, she gives Alfredo a miniature portrait of herself, saying that she will always be watching over him. Suddenly overcome by a euphoric feeling, Violetta cries out that she feels life returning, then falls dead in her lover’s arms.

Costume sketches by Gail Bakkom

Giuseppe Verdi

© Scala/Art Resource, NY

Giuseppe Verdi, Museo Teatrale alla Scala, Milan

orn into a relatively poor family, Verdi owed his first musical trainB ing to Antonio Barezzi, a local patron.

Barezzi arranged for Verdi to go to Milan, where he failed the entrance exams to the Conservatory. Verdi then returned to Busseto to assume, amid fierce controversy, the post of maestro di musica and to marry Barezzi’s daughter, Margherita, in 1836. They had two children, but tragically, within a threeyear period Margherita and their children died. In despair, Verdi pursued his career elsewhere. Then he returned to Busseto with Giuseppina Strepponi, the soprano who created the role of Abigaille in Nabucco and the woman he

later married, bought a nearby farm, built a large comfortable house and – with only occasional interruptions to travel, compose or produce an opera – managed the farm until his death in 1901.

Verdi’s third opera for La Scala, Nabucco, is generally considered his first masterpiece. Its most notable element is a long, slow chorus for the Israelites, yearning for their homeland: “Va, pensiero.” Italian patriots, then under Austrian domination, heard in it their own situation; at its premiere and at most performances afterwards, audiences demanded the chorus to be sung again, despite police prohibitions. In the years that followed, Verdi and his librettists wrote as boldly as the censors would allow. His stirring patriotic choruses made him a symbol of the Risorgimento, the political movement for a unified Italy.

In a 54-year period, Verdi wrote 26 operas (two of which were revised extensively and retitled). The years 1851 – 53 marked the peak of Verdi’s career, with the composition of his three most popular pieces: Rigoletto, Il trovatore and La traviata. These three operas hark back to the musical style of Nabucco, with simpler accompaniments and superbly crafted melodies.

In 1859 Napoleon iii of France drove the Austrians out of Lombardy.

As Verdi had long been considered an artist of revolution, he was pressed into accepting a seat in the new Italian Parliament. During his parliamentary ca-

Verdi’s Operas Oberto, conte di San Bonifacio 1839 Un giorno di regno 1840 Nabucco 1842 I Lombardi alla prima crociata 1843 Ernani 1844 I due Foscari 1844 Giovanna d’Arco 1845 Alzira 1845 Attila 1846 Macbeth 1847 I masnadieri 1847 Jérusalem 1847 Il corsaro 1848 La battaglia di Legnano 1849 Luisa Miller 1849 Stiffelio 1850 Rigoletto 1851 Il trovatore 1853 La traviata 1853 Les vêpres siciliennes 1855 Simon Boccanegra 1857 Aroldo 1857 Un ballo in maschera 1859 La forza del destino 1862 Don Carlos 1867 Aida 1871 Otello 1887 Falstaff 1893

reer he found time to compose only one opera, La forza del destino.

Macbeth was revised in 1865 and presented in Paris, where Verdi agreed to write Don Carlos. Aida, first performed at the Cairo Opera House in 1871, proved the perfect vehicle for showcasing Verdi’s gifts, and it contained some of his finest music. But Otello and Falsta∂ exceed even Aida’s grandeur. They represent the perfect culmination of an incredible career.

Set rendering by Tom Mays

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b Le Roncole, October 9 or 10, 1813; d Milan, January 27, 1901

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

The Real Traviata – Marie Rose Alphonsine Duplessis

B

“unavailable” (a rather indelicate detail that revealed her true profession). In spite of her reputation as a kept woman, one of Marie’s more ardent admirers obtained for her a noble title from King Louis-Philippe so that she could attend royal weddings and society balls. A highly desirable siren who became reckless, extravagant, untruthful and exploitative, Marie Duplessis had enough seductive allure to ruin some of the richest men in France.

One admirer from the vast pool was Alexandre Dumas fils, and his past had been only slightly better. Born out of wedlock to Alexandre Dumas père (before he became a famous novelist) and a grisette, Catherine Lebay, the crying infant became a constant nuisance to the struggling young writer, who could no longer concentrate in the confines of what had once been a quiet and loving home. Father Dumas finally abandoned mother and child, only to return several years later to acknowledge his son as his own, remove young Alexandre and set him up in a private boarding school.

In spite of his father’s better intentions, Alexandre was miserable away from his mother and was bullied in school as a result of his illegitimate birth. He grew up sullen and morose, though matters improved once he entered higher education at the lycée. In spite of Dumas père’s poor treatment of his mother and his continued life of excessive philandering, father and son remained quite close.

Like most men in his circle, the 20year-old Alexandre Dumas fils was wellaware of the beautiful Marie Duplessis – he had observed her by day surveying the Bois de Boulogne from her smart blue coupé drawn by exquisite thoroughbreds, and in the evenings at all of the major theaters, which she regularly attended. At one point he summoned © Réunion des Musées Nationaux/Art Resource, NY

orn in a small town in Normandy, light, zealously licking the wrapper Rose Alphonsine Plessis hardly be- after the meal had been completed. trayed her modest origins once she be- Alphonsine’s striking beauty would came a high-priced courtesan. Her soon attract a middle-aged restaurateur, incredible beauty and aristocratic bear- who set her up in an attractive flat, and ing may have been due to some minor it was here the barely literate peasant nobility in her ancestry, but her more girl began to reinvent herself. In no immediate relations left much to be de- time she was up to speed on the authors sired: her grandmother was a prostitute, of the day, played the piano with some and her father Marin a town-to-town assurance, shed the rather clumsy name peddler known for his drinking, abusive of Alphonsine for the more stylish behavior and a bit of the crazy eye. Poor Marie, and added a “du” to her last Alphonsine did not have a happy child- name to give it a bit more polish.

Her e∂orts quickly paid o∂. She was hood. Forced to take a position as an English gentlewoman’s chambermaid, soon seen in the company of such notaher mother was separated from her two daughters, who were split up and sent to di∂erent relatives.

At one point, Marin Plessis re-entered the picture, removing Alphonsine from a relative happiness and installing her into the farmhouse of a seventy-year-old friend. There is little doubt that she su∂ered sexual abuse at the hands of one of these two abominable men.

Alphonsine’s big Edouard Manet Olympia (1863) break came when her father dragged her bles as the Comte de Guiche, Count away again, this time to Paris, where she Ferdinand de Monguyon, Vicomte was yet again abandoned to her father’s Edouard de Pérrigaux and other young acquaintances. She escaped, but found lions and dandies of the infamous Paris herself homeless at the age of 14. The Jockey Club. She also attracted the atyoung girl soon found employment as tention of Count Gustav von Stackelone of the countless Parisian grisettes, berg, an elderly and exceedingly women who worked in the “clean” wealthy Russian diplomat whose career trades of dressmaking and embroidery, had peaked at the signing of the Conbut were forced take students as live-in gress of Vienna peace treaty that conlovers to make ends meet (Mimì of La c l u d e d t h e N a p o l e o n i c Wa r s . bohème serves as a perfect example); thus According to legend, he was struck by grisettes were women of easy virtue and Marie’s likeness to his own daughter, an enterprising nature. Food, as it was who had died of consumption some always scarce, was an especial treat, and years before. At any rate, he paid her Nestor Roqueplan (later director of the now-extensive bills as she moved to a Paris Opéra 1847 – 1854) would later fashionable residence on the Rue de la recognize Alphonsine as one for whom Madeleine. Marie became a fixture at he once bought a bag of pommes frites, the Opéra, elegantly dressed and rewhich as he noted in his memoirs, she portedly accompanied by a bouquet of ravenously consumed with great de- white camellias, or red on days she was

15 • l a t r av i a t a

the courage to approach Clémence Prat, sentimental memoir, discreetly chang- ceiving no word from his son for quite an older woman with a questionable past ing the names to Armand Duval and some time, as they regularly would who served as Marie’s go-between, and Marguerite Gautier. He chooses to tell spend the summer together. There are the two were introduced in Marie’s his story as narrated to another person to several father/son confrontations and recdrawing room. Not unlike Dumas’s give added distance, a stranger who pur- onciliations, but we don’t learn of father novel and play and Verdi’s opera, the chases Marguerite’s copy of Manon Duval’s visit to Marguerite until the young Dumas immediately professed his Lescaut at the auction of her belongings very end, as she details the encounter in love, and Marie was not completely un- following her death. Armand tracks him a letter to Armand shortly before dying.

Another fabrication is the responsive – indeed life in the fast lane had been We can not, then, have, or rather I can not existence of the visit itself, didn’t quite occur wearing her down and the have more than one possible kind of happiness which in the way Dumas porsigns of consumption were already apparent. Dumas’s and this is, sad as I sometimes am, suffering as trayed. A stern moralist Georges Duval (later interest was more sanitary I always am, to find a man superior enough not like Giorgio Germont) could than sexual – he had the notion of restoring her to ask questions about my life, and to be the hardly have been inspired Alexandre Dumas père, health if she would devote lover of my impressions rather than of my by who once accepted an inherself entirely to him.

Thus began the year-long body … I am dying of ennui, and if one is bound vitation to Marie’s box at opera, only to find his a∂air which tearfully to be consumed, it is as well to throw oneself the son already seated there – ended when Dumas realized he could not a∂ord into the flames as to be asphyxiated with as the two shared the same name and address, father Marie’s taste for luxury, charcoal.

Dumas supposed the invinor could she give up the tation that arrived in the many lovers who undermail was for him. Still, as wrote it. After they parted – Marguerite Gautier, La dame aux camélias Marie graciously received ways, Marie became involved with Franz Liszt, who passion- down and tries to buy it back. They him, it allowed Dumas père the opportuately professed the love to be genuine, strike up a friendship, which gives Ar- nity to boast that he had received a kiss yet couldn’t be bothered to travel back mand an opportunity to tell about the from the infamous courtesan. The inspibook’s significance (a special gift to Mar- ration for Georges Duval’s visit more to Paris once Marie fell mortally ill.

In the end, Pérrigaux and her maid guerite, Manon being another woman of likely came from an encounter conClotilde were her only real friends. Dur- dubious morals), and the ill-fated ro- nected to an earlier lover. The father of ing Marie’s last few days, her faithful mance that followed. By the end, the the Comte de Guiche, the Duc du Gramaid/companion borrowed from her narrator is instructed to put Armand’s mont, paid Marie a call in much the own savings to keep the household story to paper. The tale includes a grisly same way as is played out in the drama going, and it appears Pérrigaux was the scene where Armand is compelled to ex- and the opera, also claiming that her lionly man she ever truly loved. At one hume Marguerite’s body to gaze upon aison with his son was ruining the fampoint Marie and “Ned” spoke of mar- her one last time. In fact, it was Pérri- ily name. Marie must have relayed the riage, but his aristocratic family would gaux who ordered the exhumation details to Alexandre during their time not allow it. Perhaps sensing her end was (though Dumas was likely present) for together.

In the novel, Marguerite abruptly near, Pérrigaux did eventually marry reburial in a better, more permanent Marie in secret (at the Kensington O∑ce tomb. The viewing and identification of ends their summer stay in Bougival by in England), giving her at least the right the corpse would have been required by returning to one of her former lovers, to use his title and coat-of-arms, though French law, and after eleven days already after several days of unexplained tears. they never lived together as husband and underground, Marie’s remains must Armand goes to the provinces with his father to heal his wounds, but upon his wife. He was present at her deathbed have given Dumas quite a start.

The author’s other departures from return to Paris, sights Marguerite with and paid for her funeral.

Dumas was traveling with his father the actual facts are equally telling. The another courtesan, Olympe. He makes it during Marie’s final days and didn’t summer séjour (Verdi’s Act ii, scene one) his personal mission to possess Olympe make it back in time to see her die, a was more of an out-of-town trip than a by snaring an invitation to her party, significant departure from what is re- permanent settlement, traveling from knowing Marguerite will be present. layed in his novel, play and the opera. party to party, and funded by Dumas’s There is no great condemnation scene (as Knowing from his father that literature creditors more than Marie selling any of is later found in the play and the opera), could be used both as a weapon and a re- her precious possessions. In the novel, only Armand’s continued pursuit of the lease, he poured his feelings out into a Duval’s father pays him a visit after re- shameless and senseless Olympe, appro-

t h e m i n n e s o t a o p e r a • 16

The Real Traviata (continued from page 15) priately showering her with gifts hat-making and went to the stage, play- times more than anyone else.” Her befitting her station in society, and slan- ing matronly duenna roles. She even lifestyle finally took its toll on February dering Marguerite at every opportunity. acted the part of herself once La dame 3, 1847. Following Marie’s death, the Armand and Marguerite finally have a aux camélias became a hit. It is interest- famed courtesan’s enormous debts reimpassioned confrontation one evening, ing to observe how Dumas transforms quired the auction of her possessions, an followed by temporary reconciliation, her from novel to play as a source of event that garnered citywide interest.

Many proper women, so long but when he pays her a visit the following day, Armand finds All those who come about women like me denied their husbands’ attenMarguerite still attended by her have an interest in calculating their tion by women such as these, gathered to gape at the sumpprotector. He dashes o∂ a vicious note and encloses a five hundred slightest words, in thinking of the con- tuous luxury in which she had franc bill – “You went away so sequences of their most insignificant ac- lived. Charles Dickens was t h e r e ( a n d m ay b e e v e n suddenly that I forgot to pay you.

Here is the price of your night.” tions. Naturally we have no friends. We Giuseppina Strepponi, postuMarguerite leaves for England, have selfish lovers who spend their lates one Verdi biographer), as was the Duchess de Ragusa, and Armand journeys to Marfortunes, not on us, as they say, but on Pérrigaux’s aunt, intent on reseilles.

Throughout the stormy a∂air, their own vanity. We no longer belong covering the family jewels that her nephew had squandered Prudence is the surprising voice of reason and provides sage advice to ourselves. We are no longer beings, on his now publicly scanfor Armand. Prudence knows but things. We stand first in their self- dalous love a∂air. Marie’s sister, Delphine, traveled from how it all works, herself an emthe provinces to attend and, bodiment of what becomes of a esteem, last in their esteem. rather than bidding on any courtesan after her “first death” – the onset of middle age. Once a – Marguerite Gautier, La dame aux camÉlias sentimental remembrance, sensibly purchased eight skirts kept woman, then a marginally talented actress and now the owner of an comic relief, displaying his ultimate con- at a good price. It hardly mattered, for insolvent milliner’s shop, she is forced to tempt – in the drama she is depicted as the balance of the auction’s proceeds leech o∂ Marguerite by providing per- overtly coarse and piggish, always with after the creditors were paid went to her functory intermediary services between her hand out for money, even as Mar- as Marie’s only heir and included the courtesan and her clients. She is the guerite lies dying. Verdi chose to leave among her few truly personal possessions was a full-length portrait of the archetype of the demimonde, a term her out completely.

Dumas would later claim Marie Du- beautiful courtesan. Delphine hung the coined by Dumas to describe the “halfworld” occupied by courtesans, their plessis had only lived the first and sec- painting in the basement of her tavern male patrons and fallen society women, ond acts of his drama, and possessed as a tourist attraction, but was forced to all of whom have acceptable manners only a few of Marguerite’s nobler traits, sell it after the considerable inheritance but loose morals and tend to party late at yet he still described her as the only had been carelessly spent.

Following his drama’s premiere night until the early morning hours. De- courtesan who had a heart. Indeed, the struction is inevitable, and in the end, rest of her circle probably did not realize Dumas quietly dined with his mother Prudence is ruined herself, as Mar- she was truly dying, as the art of con- rather than enjoy his enormous success guerite’s valueless promissory notes leave spicuous consumption was very much in with cast and friends, an example of his her bankrupt. Her inspiration comes vogue. Marie d’Agoult (also a one-time profound respect for women of Catherfrom the real-life Clémence, whose lover of Liszt, mother of Cosima Wag- ine’s social standing. The play went all spotty past included the corruption of ner, and a mover in the artistic salons over Europe and became popular in young girls farmed out for hire. Her and society of the day) acidly noted how America under the title Camille. Sarah lower position in the demimonde is sub- the Princess Belgiojoso always feigned to Bernhardt would become one of the title tly indicated in the original French – as appear as though she had one foot in the role’s greatest interpreters, and Greta Prudence, she and Marguerite use the grave. Marie was believed to su∂er more Garbo would immortalize Marie Dupformal vous form when addressing one from ennui, and it was only when she was lessis on the silver screen. To honor another versus the informal tu that is seen for her final public appearance two Bernhardt’s accomplishments on the used between Marguerite and Gaston, months before her death, elegantly French stage, Dumas gave her the fawho are close friends, and between dressed and gaudily bedecked with mous farewell letter, which he had manMarie and Armand when they are inti- nearly every jewel in her possession yet aged to eventually procure at another mate (the point at which the word feverish and red-eyed, that her terminal auction. Reinterpreted in the novel it switches is a telling moment as they go condition was truly assessed. Knowing reads: in and out of their stormy a∂air). Fol- that her days were numbered, as Dumas lowing Marie’s death, Clémence gave up relays, she had to experience Paris “ten

ORDWAY CENTER FOR THE

PERFORMING ARTS PERFORMANCE CALENDAR Tues., April 1 – Sat., May 24 (Performance times vary) Ordway Center presents 8-Track: The Sounds of the 70’s Celebrating the greatest hits of the 70’s U.S. Bank Theater Season $35-$45 ASL/AD Performance Sat., April 5, 2 P.M. Sat., April 5 – Sun., April 13 (Performance times vary) The Minnesota Opera presents La traviata One of Verdi’s most memorable operas (with The Saint Paul Chamber Orchestra). $28-$86

overflow Real Traviata (letter)

My dear Marguerite: I hope that your indisposition yesterday was not serious. I came, at eleven at night, to ask after you, and was told that you had not come in. M. de G. was more fortunate, for he presented himself shortly afterward, and at four in the morning he had not left.

Thurs., April 17, 7:30 P.M. The Minnesota Orchestra presents St. Olaf Choir Sings Fauré $21-$66

Forgive me for the few tedious hours that I have given you, and be assured that I shall never forget the happy moments which I owe to you.

Fri., April 18, 8 P.M.; Sat., April 19, 8 P.M. The Saint Paul Chamber Orchestra presents Copes and Copland $10-$65

I should have called today to ask after you, but I intend on going back to my father’s.

Thurs., April 24, 8 P.M. The Schubert Club presents Denyce Graves, mezzo-soprano $22-$38 Fri., April 25, 10:30 A.M. and 8 P.M.; Sat., April 26, 8 P.M. The Saint Paul Chamber Orchestra presents Gil Shaham and Beethoven’s Symphony No. 7 Matinee: $10-$48 Evening: $10-$65 Tues., April 29, 7:30 P.M. Ordway Center presents 12th Annual Honors Concert and Art Exhibit Showcasing the best of Saint Paul Public School students planet Ordway Target Season $5 General Admission World Party at 6:15 P.M. Education at Ordway Center is sponsored by 3M Thurs., May 1, 8 P.M.; Fri., May 2, 10:30 A.M. The Saint Paul Chamber Orchestra presents Handel’s Alexander’s Feast Evening: $10-$46 Matinee: $10-$48 Thurs., May 1 – Sat., May 24 (Performance times vary) Ordway Center presents 8-Track: The Sounds of the 70’s Celebrating the greatest hits of the 70’s U.S. Bank Theater Season $35-$45 Sat., May 3, 8 P.M. The Minnesota Orchestra presents Sir Neville Marriner Returns $23-$74 Sat., May 10 – Sun., May 18 (Performance times vary) The Minnesota Opera presents The Handmaid’s Tale Poul Rouders’s treatment of the Margaret Atwood novel. $28-$86 Ordway Center for the Performing Arts 651-224-4222 www.ordway.org The Minnesota Orchestra 612-371-5656 www.minnesotaorchestra.org The Schubert Club 651-224-4222 www.schubert.org The Minnesota Opera 651-224-4222 www.mnopera.org The Saint Paul Chamber Orchestra 651-291-1144 www.thespco.org

Goodbye, my dear Marguerite. I am not rich enough to love you as I would nor poor enough to love you as you would. Let us then forget, you a name which must be indifferent enough to you, I a happiness which has become impossible.

I send back your key, which I have never used, and which might be useful to you, if you are often ill as you were yesterday.

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

The Artists Carlos Archuleta Baron Douphol Minnesota Opera Debut Lucia di Lammermoor, 2001 Recently Hansel and Gretel, Concord Symphony (Mass.)

Don Carlos; Little Women; La bohème; others, Minn. Opera La bohème; La traviata, Natchez Music Festival Madame Butterfly, Opera Southwest (Albuquerque) Upcoming Pagliacci/Carmina burana; Luisa Fernanda, Orlando Opera Madame Mao, Santa Fe Opera The Magic Flute, The Minnesota Opera

Charles Castronovo Alfredo Minnesota Opera Debut Recently Falsta∂, L’Opéra National de Paris – Bastille Don Giovanni, Hamburg Opera; Berlin State Opera L’elisir d’amore, Berlin State Opera; Portland Opera Don Pasquale, Boston Lyric Opera Upcoming Così fan tutte, Santa Fe Opera; Royal Opera – Covent Garden The Magic Flute, San Francisco Opera; Vienna State Opera; L’Opéra National de Paris Falsta∂, Deutsche Oper Berlin

Dan Dressen Gastone Minnesota Opera Debut Hansel and Gretel, 1983 Recently Street Scene; Le nozze di Figaro; Der Rosenkavalier; The Rake’s Progress; others, The Minnesota Opera Solomon; Amore Langueo; others, Plymouth Music Series La bohème, Lyric Opera of Cleveland Carmen; The Dream of Valentino, Washington Opera The Company of Heaven, Aldeburgh Festival Upcoming The Handmaid’s Tale, The Minnesota Opera

Judith Howarth Violetta Minnesota Opera Debut Recently Pagliacci; Les contes d’Ho∂mann, Florida Grand Opera The Magic Flute, L’Opéra National du Rhin (Strasbourg) Peter Grimes, Théâtre du Capitole (Toulouse) La traviata; Il turco in Italia; others, English National Opera Die ägyptische Helena, Santa Fe Opera Upcoming Intermezzo, Santa Fe Opera Nixon in China, English National Opera

James Valenti Alfredo Minnesota Opera Debut Turandot, 2000 Recently Orlando paladino, Glimmerglass Opera Grand Prize Winner – Metropolitan Opera Council Auditions Don Carlos; Lucia di Lammermoor; Pagliacci; others, Minn. Opera Lucia di Lammermoor, Academy of Vocal Arts Upcoming La bohème, Teatro dell’Opera di Roma; Tokyo Opera Bohème on Broadway, Baz Luhrmann Production Faust, Academy of Vocal Arts

Patrizia Zanardi Violetta Minnesota Opera Debut Recently Gianni Schicchi, New York City Opera Saffo, Festival Operaincanto Rigoletto, Teatro Pergolesi Jesi; Teatro dell’Aquila Fermo; Teatro Regio (Parma) Don Carlos, Teatro Romolo Valli (Reggio Emilia) La bohème, Teatro Donizetti (Bergamo); Teatro Fraschini (Pavia) Canti d’amore (Cesti), Orchestra Sinfonica Nazionale RAI Mass KV337; Exultate jubilate, Orchestra Sinfonica RT Slovena Vesperae solennes; Grosse Messe in C, Orchestra Nuova Cameristica

For more biographical information about these artists, visit our website at www.mnopera.org Matt Boehler Dr. Grenvil Minnesota Opera Resident Artist Recently The Merry Widow; Don Carlos; others, The Minnesota Opera Amahl and the Night Visitors, Minnesota Orchestra A Midsummer Night’s Dream, Central City Opera La bohème, Fargo-Moorhead Opera Orpheus…; Christopher Sly; others, Des Moines Metro Opera Upcoming The Handmaid’s Tale, The Minnesota Opera The Barber of Seville; La clemenza di Tito; Dardanus, Wolf Trap Opera Company

Genevieve Christianson Annina Minnesota Opera Resident Artist Recently The Merry Widow; Little Women; Street Scene (roles); La clemenza di Tito; La bohème; others (ensemble), The Minnesota Opera Candide (ensemble; Cunegonde cover), Minnesota Orchestra Broadway Music Spectacular, Ashland Productions Wonderful Town; The Merry Widow, North Star Opera Shawshank Redemption, rpn Productions Orpheus in the Underworld, Gilbert & Sullivan Opera Upcoming The Handmaid’s Tale, The Minnesota Opera

Jason Howard Giorgio Germont Minnesota Opera Debut Macbeth, 2000 Recently La traviata, New York City Opera Rigoletto; Madame Butterfly, Scottish Opera Don Carlos, The Minnesota Opera The Consul, Portland Opera La traviata, English National Opera Peter Grimes, Opéra National de Paris – Bastille Mourning Becomes Elektra, Lyric Opera of Chicago La bohème, Royal Opera House – Covent Garden

Anna Jablonski Flora Minnesota Opera Resident Artist Recently The Merry Widow; The Flying Dutchman, The Minnesota Opera La Cenerentola; The Magic Flute; Le nozze di Figaro (roles); Falsta∂; Carmen; The Barber of Seville; The Saint of Bleecker Street (scenes), Portland State University Albert Herring; A Hand of Bridge; Suor Angelica (roles); Idomeneo; Der Rosenkavalier; others (scenes), Bel Canto nw Suor Angelica, suny Purchase Upcoming The Handmaid’s Tale, The Minnesota Opera

Andrew Wilkowske Marquis d’Obigny Minnesota Opera Resident Artist Recently The Merry Widow; others, The Minnesota Opera Amahl and the Night Visitors, Minnesota Orchestra La bohème; The Barber of Seville, Lyric Opera of San Antonio Roméo et Juliette; Le nozze di Figaro; Dead Man Walking; Elektra; The Magic Flute, Cincinnati Opera Iolanthe; Don Giovanni; others, Skylight Opera Theatre Rusalka; The Rape of Lucretia; others, Cincinnati Consv. of Music Upcoming The Handmaid’s Tale, The Minnesota Opera

Gail Bakkom Costume Designer Minnesota Opera Debut The Village Singer, 1982 Recently Street Scene; Macbeth; The Marriage of Figaro (tour); Otello; Faust; Madame Butterfly (tour); The Merry Widow (1994); Frankenstein; Snow Leopard; Cinderella (tour); Rigoletto; South Pacific, The Minnesota Opera Seven Sevens, New Music Theatre Ensemble

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 • 20

The Artists Will Crutchfield

Chuck Hudson

Conductor Minnesota Opera Debut I Capuleti e i Montecchi, 2001 Recently Don Pasquale, Florida Grand Opera Norma, La Palmas (Canary Islands) Un ballo in maschera; Aida; others, Opera de Colombia (Bogotà) Orfeo; La sonnambula; Deidamia; Otello; others, Caramoor Giulio Cesare, Washington Opera The Magic Flute; La Cenerentola, Baltimore Opera Upcoming Elisabeth (Donizetti), Caramoor Festival

Stage Director Minnesota Opera Debut The Barber of Seville, 2001 Recently The Merry Widow, The Minnesota Opera She Stoops to Conquer, The Pearl Theatre Company (New York) Macbeth; The Rape of Lucretia; others (scenes), Santa Fe Opera Don Pasquale, Wolf Trap Opera Company Der Wildschültz, Manhattan School of Music Opera Theatre Le nozze di Figaro; others, Seattle Opera Upcoming Dardanus, Wolf Trap Opera Company

Tom Mays

Michael Murnane

Set Designer Minnesota Opera Debut Street Scene, 2001 Recently Street Scene, Wolf Trap Opera Company The Merry Widow; Little Women; La bohème, Minn. Opera A Pueblo Christmas; La Posada; others, Teatro del Pueblo Ni boca ni sangre, Teatro Latino All in the Timing; Four Dogs and a Bone, New Classic Theatre Biloxi Blues; Dancing at Lughnasa; others, Theatre in the Round Upcoming Rigoletto; Lucrezia Borgia, The Minnesota Opera

Lighting Designer Minnesota Opera Debut Ariadne auf Naxos, 1987 Recently Theater credits – Arizona Theatre Co.; Vocal Essence; Chanhassen Theatres; Illusion Theater; Jungle Theater; Children’s Theatre; Minn. Dance Theatre; Minn. Orchestra; Ballet of the Dolls Upcoming The Glue Factory, Beth Coming The Symphony Ball, Minnesota Orchestra Nutcracker Fantasy, Minnesota Dance Theatre Glamorama, Marshall Field’s (Minneapolis; Chicago)

Heidi Spesard-Noble

Tom Watson

Choreographer Minnesota Opera Debut The Merry Widow, 2002 Recently Brigadoon*; The Christmas Show*; Music Man; My Fair Lady; Can Can; Crazy For You; 42nd Street; others, Chanhassen Theatre Vixens*, Cowgirl Productions Lil’ Shop of Horrors*, Anoka Community College Nutcracker Fantasy; Rite of Spring; Beauty and the Beast; Swan Lake; Mythical Hunters; Allegro brillante, Minnesota Dance Theatre American in Paris; Cakewalk; Valse fantasie, State Ballet of Missouri In the Doll’s House, Ballet of the Dolls choreographer

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 (1986-2002 seasons) Metropolitan Opera (season) Jane Eyre; Dirty Blonde, (Broadway) Upcoming The Handmaid’s Tale, The Minnesota Opera

*

Background Notes continued from page 11

Varesi (the baritone who had created the roles of Macbeth and Rigoletto) was in vocal decline and couldn’t negotiate Germont’s rather exposed singing line.

By Act iii, the audience couldn’t grasp the Rubenesque Salvini-Donatelli as a consumptive heroine, and more laughter ensued. La traviata lasted nine performances, and Verdi’s suspicions had been correct – the evening had been a catastrophe.

Although there was interest from other Italian companies in producing Verdi’s newest opera, the composer decided to keep it under wraps for some time – the next viewing of La traviata would be produced according to his exact terms and casting. Initially he hoped for a Roman premiere of the work (where Trovatore has recently triumphed), but as it turned out, another Venetian theater got the bid – the conductor/impresario was a respected interpreter of his work – and 14 months later at the Teatro San Benedetto the opera triumphed. The cast included an appropriately emaciated Violetta, and

the score had been touched up a bit, but otherwise, as Verdi would vehemently stress, the opera was identical to the one seen at the La Fenice (yet still presented in Louis xiv attire, a tradition that would persist until 1906 – by then, of course, the circa 1845 dress was no longer contemporary).

It is tempting to consider Verdi’s personal investment in this particular opera and point out its vaguely autobiographical undercurrents. Going back in time a bit, he and Strepponi did return to Sant’Agata in March, 1852, but not without having received a scathing letter from his ex-father-in-law Barezzi while in Paris. Verdi was quick to write back, and while showing deference to a man he viewed as a father-figure, politely but firmly stood up to him with respect to his mistress, his own traviata, or “fallen woman.” It appears Barezzi got the point – upon their return to Italy, the meddling villagers would eventually subside, the son would mend the fence with both fathers, and Barezzi would come to embrace Strepponi as his own daughter.

Celebrate with The Minneapolis Institute of Arts Enjoy an extra hour of fun – we now open at 11 a.m. every Sunday.

Free performances by Minnesota Opera Resident Artists April 27 and May 11 from 11 a.m – noon.

Festivities from 11 – noon also include free audio guides, tours and treasure hunts.

As always, general admission is free.

New Hours: Tuesday, Wednesday, Friday, Saturday: 10 a.m.–5 p.m.

Thursday: 10 a.m.–9 p.m.

Sunday: 11 a.m.–5 p.m.

Closed Mondays 2400 Third Avenue South Harold E. Edgerton, Minneapolis, MN 55404 Child Running, 1939, (612) 870-3131 The Harold and Esther www.artsmia.org Edgerton Family Foundation

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

Coming Up:

The Handmaid’s Tale Poul Ruders’s The Handmaid’s Tale, based on the Margaret Atwood novel, explores what happens when intolerance defines a society.

In an era of extreme oppression, one woman’s precious inner world of memories, hope and tenderness protects her humanity.

The Minnesota Opera is proud to present the North American premiere.

Sung in English with English captions projected above the stage.

May 10, 13, 15, 17, 18 at Ordway Center Call 651-224-4222 for tickets

STUART PIMSLER DANCE & THEATER Theater for the heart and mind

May 8 – 11 Southern Theater, 1420 Washington Ave. S., Minneapolis Tickets $15 – $19, call 612 340-1725 Stuart Pimsler, the choreographer of Norma, presents a program of “passions, longings and desperations” including the premiere of “Hidden Places,” inspired by Kafka and written by Kira Obolensky.

“Hidden Places” is a close-up view of the secret lives behind closed doors …

We all live next door to someone, but do we really know who they are?

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

The Minnesota Opera Chorus Bryan Boyce Anna Brandsoy Kelsey Bruso Michael Cain Steve Dahlberg Andy Elfenbein Wood Foster Tracey Gorman Paul Griggsby April Hanson Katherine Haugen Robin Heggen Leah Howard Tor Johnson Brian Jorgenson Tom Matchinsky Jason McLaughlin Oliver Mercer

James Plante Lynn Rotto Michael Schaefer Joy Scheib Cathryn Schmidt Sandra Schoenecker Anne Storlie Peggy Sutherland Martin Swaden Jane Thelen Lara Trujillo Karen Weaver Karin Wolverton* Robert Woodin

Dancers

Rico Heisler Megan Northrup Heidi Spesard-Noble Brian Zimmer

Supernumeraries Stephen Haswell-Todd Joseph Johnson Christian Skelley Erik Stone

Covers Karin Wolverton,* Violetta Carlos Archuleta, Giorgio Germont * denotes Resident Artist

Lisa Bartholomew Tom Gilligan

The Saint Paul Chamber Orchestra Violin 1 Kyu Young Kim Leslie Shank Elsa Nilsson John Kennedy Brenda Mickens Daria Adams Michal Sobieski David Delgado Moran

Violin 2 William Polk Nina Tso-Ning Fan Kathryn Bennett Troy Gardner Laurie Petruconis Sarah Plum

Viola Sabina Thatcher Evelina Chao Tamas Strasser Alice Preves

Kirsten Whitson James Jacobson

Michael Petruconis Caroline Lemen

Basses

Trumpet

Christopher Brown Fred Bretschger John Michael Smith

Gary Bordner Lynn Erickson

Trombones Flute Julia Bogorad-Kogan Alicia McQuerrey

Thomas Ashworth Sue Roberts Richard Gaynor

Oboe

Tuba

Peter Cooper Tom Tempel

Scott Watson

Timpani Clarinet

Earl Yowell

Timothy Paradise Janet Greene

Percussion Michael Holland

Bassoon Carole Mason Smith Charles Ullery

Cello

Horns

Josh Koestenbaum Daryl Skobba

Herb Winslow Paul Straka

Harp Bridgett Stuckey

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

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 Karen Bachman Mrs. Judson Bemis Rod and Susan Boren Mary and Gus Blanchard Judy and Kenneth Dayton Cy and Paula DeCosse Fund of The Minneapolis Foundation Brad and Diane England Dolly J. Fiterman John and Ruth Huss Heinz and Sisi Hutter Lucy Rosenberry Jones The Art and Martha Kaemmer Fund of HRK Foundation Peter J. King Constance and Daniel Kunin Patricia Lund Thomas and Barbara McBurney Margaret and Walter S†. Meyers Mrs. George T. Pennock Rebecca Rand and E. Thomas Binger Mary W. Vaughan of The Minneapolis Foundation

Gold Anonymous Mary A. Andres David Hanson and William Biermaier Mr. James Binger Darlene J. and Richard P. Carroll Rachelle Dockman Chase Burt and Rusty Cohen Ellie and Tom Crosby, Jr. The Denny Fund of The Minneapolis Foundation Rudolph Driscoll Sally J. Economon Connie Fladeland and Steve Fox Rolf and Nancy Engh

N. Bud and Beverly Grossman Foundation Ieva M. Grundmanis Alfred and Ingrid Lenz Harrison Bryce and Paula Johnson Michael F. and Gretchen S. Kelly and the Kelly Family Foundation Warren and Patricia Kelly Ed and Pat Kerans Mary Bigelow McMillan Diana and Joe Murphy Mrs. John M. Musser† Bruce and Sandy Nelson Nelson Family Foundation Timothy and Gayle Ober Jose Peris and Diana Gulden James J. Phelps and Nancy McGlynn Phelps Connie and Lew Remele Mr. and Mrs. Steven Rothschild Stephanie Simon and Craig Bentdahl Kevin and Lynn Smith Virginia L. and Edward C. Stringer C. Angus and Margaret Wurtele

Silver Anonymous Chloe D. Ackman John Andrus, III Martha Goldberg Aronson and Daniel Aronson Martha and Bruce Atwater Patricia and Mark Bauer Joe and Judy Carlson William Voedisch and Laurie Carlson Gary Collyard Dr. James E. and Gisela Corbett Dr. Susan and Richard Crockett Rondi Erickson and Sandy Lewis Mr. and Mrs. John Forsythe Tom and Lori Foley

Leslie and Alain Frécon R. Thomas Greene, Jr. Stephen and Patricia Haynes Jay and Cynthia Ihlenfeld Dr. Robert and Susan Josselson Stan and Jeanne Kagin Mary L. Kenzie Family Foundation Mr. and Mrs. William Kling Mrs. James S. Kochiras Mr. and Mrs. Ted Kolderie Lynne Looney Roy and Dorothy Ann Mayeske Harvey T. McLain Richard and Nancy Nicholson William and Barbara Pearce Marge and Dwight Peterson E. Elaine and Roger Sampson Lucy T. Searls Fred and Gloria Sewell Kay Savik and Joe Tashjian Frank and Lynda Sharbrough Kathi Sharnberg Tanrydoon Fund of The Saint Paul Foundation Catie Tobin and Brian Nass Charles Allen Ward Fund of The Saint Paul Foundation Nancy and Ted Weyerhaeuser Rick and René Zona

Bronze Anonymous (2) Eric and Donna Aanenson Cordelia Anderson and John Humleker An Anonymous Gift from a Donor Advised Fund of The Saint Paul Foundation Mr. and Mrs. Edmund P. Babcock Dr. Ford and Amy Bell Mr. and Mrs. Paul G. Boening

John and Joan Brooks Ralph and Kathleen Cadmus Susan Cogger and Terry Williams Dr. Stephen and Beth Cragle Mrs. Thomas M. Crosby, Sr. Mary Lee and Wallace Dayton Bradley A. Fuller and Elizabeth Lincoln Christine and W. Michael Garner Mr. and Mrs. R. James Gesell Lois and Larry Gibson Don and Arlene Helgeson Cli∂ton K. Hill and Jody Rockwell Dorothy J. Horns, M.D. and James P. Richardson Dale A. Johnson Jacqueline Nolte Jones Lyndel and Blaine King Jerry and Joyce Lillquist Benjamin Y. H. and Helen C. Liu David MacMillan and Judy Krow Samuel D. and Patricia McCullough James and Judith Mellinger Albin and Susan Nelson Brian and Julia Palmer Karen B. Paul Mr. and Mrs. William Phillips Lila and Bruce Priebe Norm Rickeman and Kathy Murphy Lois and John Rogers Burton G. Ross and Cynthia Rosenblatt Ross Fund of The Minneapolis Foundation Ken and Nina Rothchild Mr. and Mrs. John C. Rowland Stanislaw and Krystyna Skrowaczewski James V. and Susan W. Sullivan Gregory C. Swinehart Michael Symeonides Mr. and Mrs. George H. Tesar Bill Venne and Douglas Kline †deceased

Individual Donors: The Artist Circle Anonymous Kim A. Anderson Paula Anderson Dr. Thomas and Ann Bagnoli John and Jennifer Bernstein Donna Block Elwood F. and Florence A. Caldwell Mrs. Thomas Carpenter Conley Brooks Family Thomas and Mary Lou Detwiler Sia Dimitriou Mr. and Mrs. John Donaldson Mr. and Mrs. Carl B. Drake, Jr. Susan Engel and Art Eisenberg

Ester and John Fesler Henry and Anice Flesh Betsy Gardella Mr. and Mrs. John F. Grundhofer Rosalie He∂elfinger Hall Fund of The Minneapolis Foundation Charlotte Karlen Erwin and Miriam Kelen E. Robert and Margaret V. Kinney Lisa C. Kochiras Maria Kochiras Dr. Robert L. Kriel and Dr. Linda E. Krach

Helen L. Kuehn Anita Kunin Carl Lee and Linda Talcott Lee Clinton and Judith Lee Ilo and Margaret Leppik Diana Lee Lucker Thornton Lyford† Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Dan and Sue Malina Mrs. John H. Myers Susan Okie Allegra Parker

Frances and George Reid Je∂rey and Lea Scherer Dr. and Mrs. Richard J. Schindler Ralph S. Schneider and Margaret McNeil Renate M. Sharp Helene and Je∂ Slocum Julie Jackley Steiner Drew Stewart and Anna Hargreaves Don and Leslie Stiles Lois and Lance Thorkelson Ellen and Fred Wells

The Andrew W. Mellon Foundation Minnesota Monthly Minnesota State Arts Board Northwest Airlines, Inc. Foundation RBC Dain Rauscher Foundation Rider, Bennett, Egan and Arundel Skyway Publications The St. Paul Companies Target Stores, Marshall Field’s and Mervyn’s with support from the Target Foundation Target Stores Thrivent Financial For Lutherans Transtop

Twin Cities Opera Guild U.S. Bancorp Foundation U.S. Bank. Private Client Group U.S. Trust Company of the Minneapolis Foundation 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

Corporations and Foundations Platinum 3M American Express Minnesota Philanthropic Program on behalf of American Express Financial Advisors and American Express Travel Related Services Co. Andersen Foundation Blandin Foundation The Bush Foundation The Cargill Foundation City of Saint Paul’s Cultural STAR Program

Deloitte & Touche Deluxe Corporation Foundation Ecolab Foundation General Mills Foundation Ann and Gordon Getty Foundation The William Randolph Hearst Foundation Anna M. Heilmaier Charitable Foundation The MAHADH Fund of HRK Foundation The McKnight Foundation Marshall Field’s Project Imagine The Medtronic Foundation

Corporations and Foundations Silver

Bronze

Artist Circle

Accenture ADC Telecommunications, Inc. Bemis Company Foundation Dorsey & Whitney Foundation Ernst & Young R. C. Lilly Foundation McGladrey & Pullen, LLP McNeely Foundation Moss & Barnett National City Bank Alice M. O’Brien Foundation Rahr Foundation SpencerStuart Star Tribune Foundation Valspar Foundation West Group Xcel Energy Foundation

The Bayport Foundation Beim Foundation Boss Foundation Chadwick Foundation Dellwood Foundation Mary Livingston Griggs and Mary Griggs Burke Foundation Hutter Family Foundation The Nash Foundation Margaret Rivers Fund Schwegman, Lundberg, Woessner & Kluth, PA Sit Investment Associates Tennant Foundation School Arts Fund of United Arts/COMPAS Wenger Foundation Whole Foods

Brock-White Co., LLC Digital Excellence, Inc. Faegre & Benson Hogan & Hartson Jostens, Inc. Leonard, Street & Deinard Mayo Foundation McVay Foundation Minnesota Mutual Foundation The Elizabeth C. Quinlan Foundation St. Croix Foundation Tilka Design Tozer Foundation

Alliance Capital Management Elmer L. and Eleanor J. Andersen Foundation Curtis L. Carlson Family Foundation Horton, Inc. KPMG LLP Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust in honor of Lawrence M. O’Shaughnessy Marsh USA, Inc. The Southways Foundation Charles B. Sweatt Foundation

Minnesota Opera Sponsors Season Sponsor

Production Sponsors

Camerata Dinners

U.S. Bank, Private Client Group

Norma, U.S. Bank, Private Client Group The Flying Dutchman, American Express Minnesota Philanthropic Program La traviata, U. S. Bank, Private Client Group

Rider, Bennett, Egan & Arundel

Opening Night Gala Sponsor U. S. Trust Company

Opera Insight Lectures SpencerStuart

Promotional Support Minnesota Monthly

These lists are current as of January 31, 2003, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since March 1, 2002.

If your name is not listed appropriately, please accept our apologies, and call Betsy Gardella, Vice President for Development of The Minnesota Opera, at 612-342-9574.

29 • l a t r av i a t a

Gold