mozart - Minnesota Opera

MOZART
2011 – 2012 SEASON
Susan Graham
Mezzo-soprano
January 10, 2012 • Ordway Center
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welcome
Allan E. Naplan | President and General Director
Dear Friends,
It is with great pleasure that I welcome you to Minnesota
Opera’s season opening production of Così fan tutte. For one of
Mozart’s most beloved creations, we’ve assembled a stellar cast
of both returning and debut artists expertly guided on stage by
acclaimed Twin Cities director Peter Rothstein and in the pit
by returning maestro Christopher Franklin (Cinderella 2010).
While Così is often unduly overshadowed in popularity by Mozart’s other
“hits” (specifically The Marriage of Figaro, Don Giovanni and/or The Magic
Flute), this opera – the third of Mozart’s important collaborations with
librettist Lorenzo da Ponte – offers the same brilliant theatrical and musical
balance that so many of Mozart’s operatic works uniquely achieve.
From the simple elegance of solo arias to the complexity of exhilarating
ensembles and from heartrending drama to laugh-inducing comedy, Mozart’s
Così presents an intimate and entertaining look at the timeless and always
complex issues of relationships and love.
Following this production of Così, we are extremely excited to present the world
premiere of Silent Night by composer Kevin Puts and librettist Mark Campbell.
As all the eyes and ears of the opera industry will be focused on the Twin
Cities for this important debut, I hope you’ll also be with us as we make opera
history! Later this season, we’ll offer the company premiere of the great French
opera Werther, starring Minnesota Opera favorites James Valenti and Roxana
Constantinescu, and then we’ll close the season with two perennial favorites:
Lucia di Lammermoor and Madame Butterfly. We have a great season in store
for you and I hope you’ll join us for all the excitement.
As I begin my first full season with Minnesota Opera, I look forward to meeting
many of you at our opera performances, at our new Opera Up Close programs (see
page 10) and at other special events throughout the year. Whether in the Ordway
lobby or in the grocery store, I hope you’ll introduce yourself, let me know what
you like (or dislike) about your opera experience, and your ideas and dreams for
our company. Thanks to your past support and patronage, Minnesota Opera has
achieved great things. Together, I look forward to continuing that success.
Enjoy the show!
Allan E. Naplan
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Synopsis
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Tempo
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Così fan tutte
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Gala 2011
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Background Notes
22
Education at Minnesota Opera
10
Opera Up Close
24
Upcoming at Ordway
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Wolfgang Amadeus Mozart
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12
The Artists
Minnesota Opera Board of
Directors, Staff and Volunteers
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Up Next: Silent Night
26
Minnesota Opera Annual Fund
2011–2012 Season Subscriptions
30
Kevin Smith Legacy Campaign
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Large-print and Braille programs are available at the Patron Services Office
| COSÌ FAN TUTTE
contents
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synopsis
act i
Scene one Don Alfonso questions
the fidelity of sisters Fiordiligi and
Dorabella, whose goodness Guglielmo
and Ferrando vehemently affirm. Still
skeptical, Alfonso suggests the two
officers put their girlfriends to the test.
A wager of a hundred zecchini is at
stake, and the two young men already
plan how to spend what they believe to
be easy money – Ferrando shall hire a
band of players to serenade his beloved,
while Guglielmo shall throw a lavish
party. They accept the challenge.
Scene two Fiordiligi and Dorabella
admire miniatures of their respective
boyfriends, whom they compare to
Adonis and Apollo. Don Alfonso
enters with some dreadful news.
Guglielmo and Ferrando have been
called up for active duty in the army
and must depart that very morning.
As the two soldiers arrive to bid
farewell, the ladies swoon, knowing
they will languish in their lovers’
absence. Promising to write often, the
men depart to the march of a soldiers’
chorus. Don Alfonso is pleased with
the progress of his plan.
| MINNESOTA OPERA mnopera.org
Scene three Despina disdainfully
serves her ladies’ breakfast as the two
sisters despair. Once familiar with the
cause of their distress, Despina shrugs it
off. Why not look at the bright side and
take new lovers in their stead – that’s
what the men are likely to do. She has
discovered one can’t find constancy in
soldiers or gentlemen. Both women are
shocked at the suggestion.
6
profess their love. The two men pretend
to recognize Don Alfonso as their
former tutor, but this extra credibility
does nothing to impress the sisters.
They order the intruders out of their
house of virtue. Further pleading does
not break the ladies’ indomitable will,
and they brusquely leave the room.
Guglielmo and Ferrando are reassured
by their lovers’ steadfast devotion.
The day is not over yet, observes
Alfonso. They must pursue the
sisters in the garden. He confers with
Despina, who is certain her vapid
employers will eventually capitulate.
They strategize their next move.
Scene four Fiordiligi and Dorabella
overhear the men’s desperate cries – if
the ladies won’t have them, then death
is the only alternative. Appearing before
them, Guglielmo and Ferrando each
pretend to take a draught of arsenic.
Horrified, the sisters have Despina fetch
a doctor and try to comfort the dying
men. The doctor soon arrives (really
Despina in disguise) and provides a
fashionable cure using a large magnet.
It works like a charm, and the men
begin to revive, begging for a kiss
to ensure a complete recovery. The
indignant sisters refuse.
• intermission •
act ii
Scene one Despina continues to deride
her employers’ priggish attitudes –
why not have a little harmless fun
while their boyfriends are away? If
people talk, the sisters can claim the
Don Alfonso sees Despina as a valuable men were calling upon her. Dorabella
ally to his scheming, but he can’t let is the first to see reason. They should
seek a brief diversion to alleviate their
her in on all of the details. He finds
melancholy. Once their beaus are back,
that a little money will make her a
willing accomplice. She agrees to make the affairs shall be over. She’ll take the
dark one (Guglielmo) while Fiordiligi
the villa accessible to two Albanian
may have the fair one (Ferrando).
soldiers, who are entranced by the
ladies. Despina meets them at the
door and is surprised by their unusual Scene two Still disguised, Guglielmo
and Ferrando have hired a band
appearance – she does not recognize
the disguised Guglielmo and Ferrando. of singers to help serenade their
paramours. The sisters are quite taken
aback and need a little more coaxing
Fiordiligi and Dorabella are angered
from Don Alfonso and Despina. The
by the intrusion of the suitors, who
plan now is to divide and conquer.
immediately and inappropriately
Dorabella is the first to capitulate,
and Guglielmo takes her heartshaped pendant. Fiordiligi is more
resistant, yet is forced to wrestle with
her conscience after Ferrando’s frank
admission of love.
The two men compare notes, and
Ferrando is shocked to discover the
pendant in Guglielmo’s possession. He
is crushed by Dorabella’s faithlessness.
Scene three Dorabella confides in Despina
her recent acquiescence to her Albanian’s
affections. Fiordiligi enters, angered by
the uncontrollable desire blossoming in
her heart. To create some distance, she
instructs Despina to get their fiancés’
uniforms from the closet. She will go to
the battlefront to be with Guglielmo –
she encourages Dorabella to do the same.
Ferrando enters and begins to woo
Fiordiligi with renewed zeal. Her
resolve finally falters, and she gives
in to his entreaties. Guglielmo is
furious when he discovers what has
happened, and he and his friend plan
their retaliation. Don Alfonso suggests
a fake wedding ceremony for the grand
denouement and sagely reminds them
of his earlier premise – they are women,
after all, and women are all like that.
Scene four The house is prepared for
a festive celebration. The two couples
enter jubilantly as the men conceal their
rage. Again disguised, Despina officiates
as the notary, and the ladies (only) sign
the marriage contracts. Suddenly, drums
are heard in the distance – their former
boyfriends have returned from battle.
Flustered, Fiordiligi and Dorabella
hide their new spouses and scramble
for an explanation.
Guglielmo and Ferrando reenter, now
dressed as themselves, and question their
lovers’ uneasy demeanor. They discover
the marriage contracts and angrily
demand to see their rivals. Don Alfonso
points them to the hiding place, and
the men go inside, only to emerge later
in partial disguise, thus revealing the
ruse. Despina is shocked to find that she
too was deceived. Don Alfonso advises
everyone to laugh it off and all observe
the lessons of their misadventure. ❚
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte
World Premiere at the Burgtheater, Vienna, January 26, 1790
September 24, 27, 29, October 1 and 2, 2011, Ordway, Saint Paul
Sung in Italian with English translations
cast
(in order of vocal appearance)
Ferrando, an officer, Dorabella’s lover John Tessier
Guglielmo, an officer, Fiordiligi’s lover Matthew Worth
Don Alfonso, a philosopher Daniel Mobbs
Fiordiligi, a lady from Ferrara Jacquelyn Wagner
Dorabella, her sister Jennifer Holloway
Despina, their maid Angela Mortellaro
creative team
Conductor Christopher Franklin
Stage Director Peter Rothstein
Set Designer Alexander Dodge
Costume Designer Alejo Vietti
Lighting Designer Marcus Dilliard
Wig and Makeup Designers Jason Allen and Ronell Oliveri
Assistant Director Octavio Cardenas
Assistant Conductor Clinton Smith
Stage Manager Alexander Farino
English Captions Floyd Anderson
The Minnesota Opera season is sponsored by
Così fan tutte is supported in part by
Così fan tutte is supported in part by
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background notes
lovers to a real-life scandal that had
been made public in Vienna (recent
gossip known to the emperor himself,
which he then encouraged for operatic
treatment). Others have traced the
hand, La scuola degli amanti (The School subject to an event connected to the
n 1789, Wolfgang Amadeus Mozart’s
for Lovers), which had first been offered ongoing Turkish campaign in a city
uneasy fortune began to turn, if
on the Adriatic coast. Two men, who
to Antonio Salieri and rejected after
only briefly. Le nozze di Figaro had
claimed to have been called into active
the composition of just a few numbers.
been remounted in Vienna and was
duty, successfully courted each other’s
There may have been some animosity
a huge success, eventually achieving a
wives while disguised at a masked ball.
between da Ponte and Salieri, as the
total of 26 performances. Previously,
Although we can’t be certain to
former had taken the newly arrived “La
the composer’s achievements at the
Ferrarese,” Adriana del Bene, as his lover what degree Mozart influenced the
Burgtheater were tenuous at best – in
1786, Figaro had managed a meager nine and had unfairly promoted her interests libretto, he undoubtedly had something
at the Burgtheater. With both a dose of to do with it. And the creation of the
showings (eclipsed by the premiere of
opera had an interesting parallel to his
theatrical nepotism and a personal jibe
the enormously popular Una cosa rara,
newly offered by Vicente Martín y Soler) to Salieri and his mistress, rival soprano personal life at that moment. After a
recent pregnancy, his wife Constanze
Caterina Cavalieri, La Ferrarese would
and only the year before, his Praguewas taking the cure at Baden, a spa
be cast in one of the principal roles.
born Don Giovanni had been coolly
known more for mixed bathing and
Così fan tutte, the new opera’s
received by the Viennese.
flirtatious dalliances than for any actual
eventual title, remains somewhat
Financially speaking, the Figaro
medicinal value. Naturally, reports of his
of a mystery. There’s scant written
revival hadn’t meant much money –
documentation as to how it came about, wife’s improprieties caused the composer
there were no royalties in those
to wave a cautionary finger, suggesting
and da Ponte’s later memoirs betray
days – but it was important in terms
that she had been “too free” and that
very little. There is no direct literary
of prestige. Once again, Mozart had
source and the librettist, chafing from “a woman must always conduct herself
brought himself to the attention of
with decorum lest people talk.” Infidelity
Emperor Joseph ii, who commissioned the many adaptations and translations
required by his position as imperial poet, was very much on his mind.
a new work as a result. The composer
Così was written quickly over
seemed proud to be able to offer it as an
turned to librettist Lorenzo da Ponte
original work. 19th-century critics have the autumn and winter months, and
for a third time, and fortunately his
premiered on January 26, 1790, on the
attributed the story of exchanged
erstwhile collaborator had a libretto in
eve of the Mozart’s 34th birthday. Critical
acclaim was favorable, and the Viennese
seemed to enjoy it. There were four more
performances before an unforeseen and
tragic event occurred – Joseph, who had
been too ill to attend the premiere, died
on February 20. As was customary, all
the theaters of Vienna closed for a period
of mourning. A short revival followed
in the summer months, but as other
projects were in the queue, the opera
achieved only five more performances.
Così fan tutte was not seen again in
Vienna during Mozart’s lifetime.
Both composer and librettist
faced uncertainty in the new regime.
Da Ponte’s various machinations and
open affair with one of the Burgtheater’s
leading sopranos caused him and
his mistress to be fired. Mozart tried
to court favor with the new ruler,
Joseph’s brother Leopold, by following
Fête de l’amour (c. 1718)
him to Frankfurt for his coronation as
Jean-Antoine Watteau
Gemaeldegalerie Alte Meister, Staatliche Kunstsammlungen (Dresden, Germany)
Holy Roman Emperor. The composer
| MINNESOTA OPERA mnopera.org
I
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by David Sander
bpk, Berlin/ Hans-Peter Klut/ Art Resource, NY
organized concerts of his music, hoping
to attract attention. But Leopold had
other things on his mind, trying to
repair some of the political fallout
brought on by Joseph’s liberal reforms.
He needed to gain a firm control of
his nation during dangerous times –
the French Revolution had broken
out the previous year, resulting in the
downfall of his sister, Marie Antoinette.
Eventually, Leopold would commission
a propaganda piece, La clemenza di
Tito, to celebrate another coronation
in Prague, but by the summer of 1791,
the composer was badly in debt and six
months to his grave.
Così fan tutte quickly went to
Mozart-enamored Prague for the
1790–1791 season, to Frankfurt in
German translation and then to
houses elsewhere in Germany. The first
subsequent Italian production was in
1797 in Trieste where del Bene would
revive her role. The opera was frequently
modified or simply set to a new libretto,
one curious feature of Così as it traveled
through the 19th century. The story’s
surface frivolity had little appeal for
emergent minds of the Romantic era,
and further down the road the subject
became a little too racy for Victorian
audiences. Even in the cosmopolitan
city of Paris, Mozart’s music was set to
an adaptation of Shakespeare’s Love’s
Labour’s Lost at the Théâtre-Lyrique in
1863 by veteran librettists Jules Barbier
and Michel Carré. It is only in the
20th century that the opera has been
rehabilitated to its original state. Ranked
fourth in popularity among Mozart’s
favored works, Così fan tutte might be
considered a “thinking person’s opera,”
much in the same way as Don Carlos is
to Verdi’s oeuvre.
Unlike Figaro and Don Giovanni,
there is no direct literary ancestor for
Così fan tutte – da Ponte drew from a
multitude of sources when he concocted
his new libretto. Masked as a frothy
confection suited to the tastes of the
Viennese, the opera has a rich pedigree, a
tapestry of influences and allusions, and
is a testament to the librettist’s erudite
knowledge. Two traditions in literature
served as inspiration, one of wager,
the other of exchanged
lovers. One can go as far
back as Livy’s History of
Rome to find a gamble
on fidelity. During the
sixth century b.c.e., a
bet made between several
encamped generals leads
to the discovery of their
wives’ indiscretions in
their absence, save one,
the virtuous Lucretia.
Boccaccio has a similar
stake with regard to
a wife’s fidelity in his
Decamerone (1348–
1353), a theme picked
up and embellished
by Shakespeare in
Cymbeline – Posthumus
makes a bet with Iachimo
on the chastity of his new
wife, Imogen. The Bard
also provided a model in
The Swing (1767)
his play A Midsummer
Jean-Honoré Fragonard
Wallace Collection (London, Great Britain)
Night’s Dream, which
by kind permission of the Trustees of the Wallace Collection,
features two sets of
London/Art Resource, NY
mismatched couples. His
works would have been
known to da Ponte and
Mozart as his dramas were frequently
(Roland, nephew of Charlemagne) as
performed in Vienna during the 1780s.
his main protagonist. One canto details
Another branch of Così’s origin
a similar test of devotion while magically
stems from the notion of testing fidelity disguised. Another features two men’s
by means of a disguise. This too goes
fruitless search for a faithful female. The
back to antiquity: Ovid’s treatment of
names of all three women – Fiordiligi,
the mythical Procris and Cephalus in
Doralice and Fiordespina – are found
his Metamorphoses. Here Cephalus tests within the text.
the constancy of his wife Procris by
One must also consider the impact
showering her with gifts while disguised. of Rococo theater, then still fairly fresh,
Procis falters, and though the couple
particularity the works of Pierre de
is reconciled, another case of mistaken
Marivaux. His works, most notably La
identity leads to her accidental death.
dispute (1744) and Le jeu de l’amour et du
The Procris myth became a paragon hazard (The Game of Love and Chance;
of virtue throughout the Middle Ages as a 1730), further developed the notion of
warning to those who doubt their spouse’s a “School for Lovers.” On the darker
commitment and the consequences
side, a later epistolary novel Les liaisons
of idle gossip. A Ferrarese playwright, dangereuses (1782) by Pierre Choderlos
Niccolò da Correggio, wrote a play on de Laclos explored the disastrous
this topic in 1487 while in the service of consequences of a romantic wager. This
Duke Ercole d’Este. Inspired to complete casual treatment of love is reinforced by
Matteo Maria Boiardo’s Orlando
the Rococo period’s visual artists in their
innamorato, Ariosto (one of da Ponte’s
depiction of idealized “courtly romance”
favorite authors) wrote his own Orlando in the sexually suggestive and vaguely
furioso (1509), also using Orlando
erotic works of Jean-Honoré Fragonard
| COSÌ FAN TUTTE
background notes
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background notes
(The Swing; 1766) and his forerunner
Jean-Antoine Watteau (Embarkation for
Cythera; 1717). One significant attribute
of Rococo art was its penchant for
treating the human condition with play
and pretense.
The typical Italian commedia dell’arte
tricks of the trade (the disguises; the
notary; the doctor; the spunky, somewhat
spiteful, world-wise maid) make their
way into Così as well, reinforced by the
dramas of Carlo Goldoni, which were
very influential as opera buffa developed
during the 1760s and 70s. One notable
libretto, Le pescatrici (The Fisherwomen;
1770), involves a pair of disguised men
seeking to outwit their lovers. This sort
of “scuola degli amanti” became a staple
for opera buffa, elaborating on all of
the genre’s facets – courtship, jealousy,
marriage and delusion. The Viennese
were preoccupied by l’amour and took
comfort seeing similar plots reworked
over and over, with slightly different
twists and trappings.
As these opera buffa plots bore such
a striking resemblance to one another,
it’s hardly surprising that Così shows a
strong likeness to a recent Burgtheater
comedy, La grotta di Trofonio (1785) by
Antonio Salieri. Once again, pairs of
crisscrossed lovers find they are attracted
to the temperament of the opposite
partner in the other couple. Trofonio’s
grotto has the ability to magically
change one’s disposition upon entering.
Naturally, mayhem follows when each
sex visits the cave in an effort to achieve
the ultimate coupling.
Also described as a filosofo,
Trofonio’s whiff of the supernatural
comes from a play on the broader
18th-century understanding of the
word – one who deals with astronomy,
astrology and the mystical arts in
addition to espousing enlightened
rational thought and tutelage. Though
a bit more grounded, the philosopher
Don Alfonso appears to guide his
experiment with a sense of destiny,
knowing from the very beginning
how things will turn out. The
same air of cosmic manipulation
surrounds Alidoro (also a learned
man) in Rossini’s La Cenerentola,
who provides disguises, creates storms
and rolls carriages, and again may be
derived from Shakespeare, this time The
Tempest’s Prospero, who similarly guides
precipitation and all things enchanted.
Join us as we launch an exciting
new series of entertaining and
informative events featuring
the creators, performers
and decision-makers of each
Minnesota Opera production.
| MINNESOTA OPERA mnopera.org
Each Opera Up Close event will feature extensive multi-media
presentations, artist roundtable discussions, production and cast
previews and an engaging audience Q&A session to better enhance
your Minnesota Opera-going experience.
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Go behind the scenes to explore the artistic and creative process, the
performers’ perspective, the history of the opera and much more!
For more information or to purchase tickets, visit mnopera.org/operaupclose
or call the Minnesota Opera Ticket Office at 612-333-6669.
Join Allan Naplan, Minnesota Opera’s President and General Director,
as he hosts the Opera Up Close preview of Silent Night on Monday,
October 12. Special guests will include composer Kevin Puts, librettist
Mark Campbell, director Eric Simonson, conductor Michael Christie and
Minnesota Opera’s Artistic Director Dale Johnson.
Not unlike Marivaux’s La
dispute, Alfonso’s test tube is an
enclosed symmetrical environment,
a small world consisting of three
men and three women. Aided by his
willing and able laboratory assistant,
the academician explores a setting
ripe for upset. Two educated young
women from Ferrara, living in sunny,
carefree Naples with their live-in
boyfriends, not bound by marriage
and still quite impressionable, might
be easily persuaded into a sexual
relationship with another man. Like
Trofonio, Alfonso may believe that
the two couples are mismatched
in disposition and intends to set
things right. Certainly the musical
tradition dictated the two seria
characters, the soul-searching
Fiordiligi and emasculated Ferrando
(not unlike Anna and Ottavio in Don
Giovanni), belong together just as
the more sentimental Dorabella and
earthy Guglielmo do (both mezze
carattere or middle characters caught
in-between comedy and tragedy).
Though tradition suggests the original
couples reunite, there is a sense that
new feelings have been awakened
and alternative alliances may be in
the future. Billed as an opera buffa
but considered by Mozart a dramma
giocoso, the opera has a sense of weight
and gravity – the artifice of comedy
is revealed in Act i, then removed by
the end of Act ii to reveal layers of
meaning and a more genuine course
of events.
“Così fan tutte” or “thus do they all,”
loosely translated – the title is an idiom
tailored to the minds of the Viennese,
an error in marketing that may have led
to the opera’s slow rise in popularity.
Perhaps the title indicates Mozart’s
willingness to forgive his errant wife’s
indiscretion – it was the composer’s idea
to quote from his own work, a phrase
uttered by Don Basilio in Act i of Figaro
and a reference his audience would likely
understand. Out of context the opera
is often misunderstood, perhaps the
reason why this masterpiece still remains
underplayed or even undiscovered for so
many listeners. ❚
Wolfgang Amadeus Mozart
b Salzburg, January 27, 1756; d Vienna, December 5, 1791
were commissioned by Milanese and
Munich nobles, he could not rise
beyond Konzertmeister of the Salzburg
archbishopric. When the new prince
archbishop, Count Hieronymus
Colloredo, was appointed in 1771,
Mozart also found he was released for
guest engagements with less frequency.
Things came to a head in 1781
immediately following the successful
premiere of Mozart’s first mature
work, Idomeneo. After several heated
discussions, the composer was relieved
of his Salzburg duties. In Vienna,
completely on his own for the first time,
Mozart embarked on several happy
Wolfgang Amadeus Mozart at the Piano (1789)
years. He married Constanze Weber,
Joseph Lange
Mozarteum (Salzburg, Austria)
sister to his childhood sweetheart
Alinari/Art Resource, NY
Aloysia, and premiered a new work,
Die Entführung aus dem Serail (The
Abduction from the Seraglio), at the
hild wonder, virtuoso performer
and prolific creative artist, Mozart Burgtheater. Mozart also gave concerts
is the first composer whose operas around Vienna, presenting a number of
new piano concertos and symphonies.
have never been out of repertory. His
His chief concern was to procure a
prodigious talents were apparent very
position at the imperial court. A small
early in his life; by the age of four he
commission came his way from the
could reproduce on the keyboard a
emperor for a one-act comedy, Der
melody played to him, at five he could
Schauspieldirektor (The Impresario), to
play the violin with perfect intonation
and at six he composed his first minuet. celebrate the visit of his sister, Marie
Christine, and her husband, joint rulers
A musician himself, Wolfgang’s
of the Austrian Netherlands.
father, Leopold, immediately saw
The Marriage of Figaro, Mozart’s
the potential of his son’s talents.
first true masterpiece for the imperial
The family embarked on a series of
court, premiered at the Burgtheater
concert tours showing off the child’s
in 1786 and went on to Prague the
extraordinary talents. As Mozart
following year where it was a huge
grew older, these tours turned into a
success. Don Giovanni premiered
search for permanent employment,
but this proved exceedingly difficult in Prague in 1787 to great acclaim,
but its Vienna premiere in 1788 was
for a German musician in a market
coolly received. By this time, Mozart
dominated by Italian composers.
had received a minor imperial posting,
Although many of his early operas
C
Kammermusicus, which required him
to write dances for state functions.
The position was hardly worthy of
his skills and generated only a modest
income, a weighty concern now that
debts had begun to mount. Joseph ii
commissioned another opera, Così
fan tutte, but was too ill to attend the
opening and died the following month.
His brother, Leopold ii, assumed
leadership, and Mozart hoped to be
appointed Kapellmeister – instead he
merely received a continuance of his
previous position.
Crisis hit in 1791. Constanze’s
medical treatments at Baden and the
birth of a second child pushed their
finances to a critical point. Mozart’s
friend and fellow Freemason, the
impresario Emanuel Schikaneder,
suggested he try his luck with the
suburban audiences at his Theater
auf der Wieden. Composition of
The Magic Flute began early that
summer but had to be halted when
two generous commissions came his
way: a requiem for an anonymous
patron, and an opera seria to celebrate
the new emperor’s coronation as
King of Bohemia. La clemenza di
Tito premiered September 6, and
The Magic Flute was completed
in time to open September 30.
The Requiem, however, remained
incomplete, and as Mozart’s health
began to fail, the composer feared
he was writing his own death mass.
In December Mozart died at the age
of 35 and was given a simple funeral
by his impoverished widow, then
buried in an unmarked grave on the
outskirts of Vienna. ❚
At the same time...
French King Louis xvi accepts the constitution
(he is guillotined three years later).
Wolfgang Amadeus Mozart composes his
“Prussian” String Quartets, supposedly in
honor of Friedrich Wilhelm II, though no
dedication is noted.
In Paris, the clergy’s property is nationalized and
priests become employed as civil servants.
Chemist Antoine-Laurent de Lavoisier publishes
the Table of Thirty-One Chemical Elements; he is
guillotined four years later during the Reign of Terror.
The first steam-powered rolling mill is built in England.
The United States capital temporarily moves from
New York to Philadelphia.
Congress authorizes the first census.
The Society of Friends (Quakers) sends Congress
a petition calling for the end of slavery.
Benjamin Franklin dies.
English chemist Thomas Wedgewood makes
photograms, shadow-like photographic
images by placing objects on leather
sensitized with silver nitrate.
| COSÌ FAN TUTTE
The one-year anniversary of the capture of the
Bastille is celebrated in the Champ de Mars. The
tricolor is chosen as the national flag of France.
11
the artists
Marcus Dilliard
Alexander Dodge
Christopher Franklin
lighting designer
set designer
conductor
| MINNESOTA OPERA mnopera.org
Marcus Dilliard has
designed for opera, theater and dance across
North America and in
Europe, including numerous productions for Minnesota Opera,
the Guthrie Theater, Children’s Theater
Company, Minnesota Dance Theater and
Theatre de la Jeune Lune. Recent designs
include God of Carnage for the Guthrie
Theater, Norma for Lyric Opera of Kansas
City, Song of Extinction for Theater Latté
Da, All Is Calm at the Pantages Theater and
An Ideal Husband for Great Lakes Theater
Festival. Upcoming projects include Così
fan tutte for Lyric Opera of Kansas City,
Charlie’s Aunt for the Guthrie Theater, Cinderella for the Ordway and Julius by Design
for Penumbra Theater.
12
Alexander Dodge is making his Minnesota Opera
debut. He was born in Switzerland, raised in Arizona
and lives in Manhattan.
Opera credits include Il trittico for Deutsche
Oper Berlin, Der Waffenschmied for Staatstheater am Gärtnerplatz (Munich), Lohengrin for
Budapest, Der fliegende Holländer for Würzburg and Summer and Smoke for Manhattan
School of Music. On Broadway, he has designed
Present Laughter (2010 Tony Nomination), Old
Acquaintance, Butley and Hedda Gabler. OffBroadway credits include Maple and Vine for
Playwright’s Horizons, All New People, Trust
and The Water’s Edge for Second Stage, The
Understudy for Roundabout, Measure for Pleasure and Paris Commune for Public Theater;
Observe the Sons of Ulster … (Lortel Award) and
Chaucer in Rome for Lincoln Center Theatre,
Antony and Cleopatra for tfana, Orbo Novo
for Cedar Lake and Force Continuum for Atlantic. Regional credits include designs at Alley
Theatre, Arena Stage, Baltimore Centerstage,
Chicago Shakespeare, Hartford Stage, Huntington Theatre, Geffen Playhouse, Guthrie
Theater and La Jolla Playhouse.
Since having started his
career in Italy, Christopher Franklin has conducted at many of the
major Italian opera houses
and festivals. The houses include Teatro
Regio di Torino, the Maggio Musicale Fiorentino, Teatro Comunale di Bologna, the
Teatro Carlo Felice di Genova, the Teatro
dell’Opera di Roma, the Teatro Massimo
di Palermo, the Teatro Piccolo alla Scala di
Milano, the Teatro Comunale di Treviso,
Teatro Verdi di Salerno, Teatro Pergolesi di
Jesi, the Rossini Opera Festival in Pesaro and
the Spontini Festival in Jesi.
Operatic engagements include Death in
Venice with Opera de Belles Artes in Mexico
City, La Cenerentola with Minnesota Opera,
Il barbiere di Siviglia in Lima, Peru, L’elisir
d’amore at Teatro Carlo Felice, Une éducation
manquée and Rossini’s La cambiale di matrimonio at the Wexford Festival, Sweeney Todd
at the Teatro Comunale di Bologna, The Merry
Widow at both the Teatro San Carlo di Napoli
and Carlo Felice di Genova, and concerts with
the Filarmonica Toscanini in Parma and the
Swiss Radio Symphony Orchestra in Lugano.
Jennifer Holloway
Daniel Mobbs
Angela Mortellaro
Dorabella
Don Alfonso
Despina
Rapidly gaining increasing
attention for her “vibrant
mezzo-soprano and generous presence” (New
York Magazine), American mezzo-soprano Jennifer Holloway made
her European debut at the Teatro Regio di
Parma and the Théâtre du Châtelet as the Baroness Aspasia in Rossini’s La pietra del paragone. Other roles include Le Prince Charmant
in Cendrillon and Siébel in Faust at Santa Fe
Opera, the title role in Handel’s Xerxes, Flora
in La traviata at the Metropolitan Opera,
Cherubino in Le nozze di Figaro, Dorabella
in Così fan tutte with Dallas Opera and in
Atlanta, Irene in Tamerlano with Los Angeles
Opera and the Teatro Real (Madrid), Idamante in Idomeneo with Opéra de Bordeaux,
Hansel in Hansel and Gretel and Meg in Falstaff at Glyndebourne, Diane in Hippolyte et
Aricie in Toulouse, Dorabella in Brest, and the
Page in Salome at the Teatro Real and with the
Maggio Musicale.
Engagements in 2011–2012 include
Cherubino in Le nozze di Figaro at Opéra
National de Bordeaux and Portland Opera,
and Dorabella with New York City Opera.
For more biographical information
about these artists, visit our website
at mnopera.org/season or go to
get.neoreader.com on your smartphone
and then snap this tag.
American bass-baritone
Daniel Mobbs has won
praise on both sides of the
Atlantic for his “solid, resonant voice and boundless
energy … his stage presence virtually ensured
that he was the focal point of nearly every
scene in which he appeared,” as written in The
New York Times.
The 2010–2011 season included the roles
of Alidoro in La Cenerentola with Minnesota
Opera, Capulet in a new production of Roméo
et Juliette at the Opera Company of Philadelphia, Don Pédro in L’Africaine with Opera
Orchestra of New York, Giorgio in I puritani
with Knoxville Opera, Angelotti in Tosca in
Philadelphia and the title role in Rossini’s
Guillaume Tell at Caramoor. Other recent
roles include Leporello in Don Giovanni with
Virginia Opera, Ormonte in Partenope at
New York City Opera, and Oroveso in Norma and Assur in Semiramide at Caramoor.
In 2011–2012, Mr. Mobbs returns to
Portland Opera for Figaro in Le nozze di
Figaro, Opera Company of Philadelphia as
Geronte in Manon Lescaut and Lyric Opera
Baltimore as Mozart’s Figaro.
Angela Mortellaro returns
to the Minnesota Opera’s
Resident Artist program
for a second season, singing the roles of Madeleine
in Silent Night, Sophie in Werther, the title
role in the Sunday cast of Lucia di Lammermoor and Kate Pinkerton in Madame Butterfly. Last season, she was seen as Amore in
Orpheus and Eurydice, Clorinda in Cinderella
and Annina in La traviata. Other roles include
Gretel in Hansel and Gretel with both PORTOpera and Sarasota Opera; Edith in The
Pirates of Penzance and Anna Gomez in The
Consul as a Chautauqua Opera Apprentice
Artist; and Sister Genovieffa in Suor Angelica,
Sally in Die Fledermaus and Clorinda in La
Cenerentola for Orlando Opera Company.
The soprano also appeared as Clorinda and
Frasquita in Carmen for Aspen Opera Theatre.
She has sung Susanna in Le nozze di Figaro for
Operafestival di Roma and was a Caramoor
Opera Bel Canto Young Artist.
Ms. Mortellaro has a Master of Music
degree in vocal performance from Rice University and a Bachelor of Music degree at the
University of Wisconsin.
The appearances of Jennifer Holloway and Angela Mortellaro, regional finalists of the Metropolitan Opera National
Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement
by Barbara White Bemis.
the artists
Peter Rothstein
John Tessier
Alejo Vietti
stage director
Ferrando
costume designer
On the international stages of opera, concert and
recital, Canadian tenor
John Tessier has gained
attention and praise for
the beauty and honesty of his voice, for a
refined style and creative versatility and for
his handsome, youthful presence in the lyric
tenor repertoire. The Juno Award winning
artist has worked with many of the most notable conductors of our day including Lorin
Maazel, Leonard Slatkin, Plácido Domingo,
John Nelson, Franz Welser-Möst, Emmanuel
Haïm, Charles Dutoit, Donald Runnicles,
Robert Spano, Yannick Nézet-Séguin and
Bernard Labadie.
For the 2011–2012 season, Mr. Tessier
makes a Netherlands Opera debut as John F.
Kennedy in the world premiere of Robin de
Raaff ’s Waiting for Miss Monroe, debuts with
Boston Lyric Opera as Count Almaviva in Il
barbiere di Siviglia and returns to Manitoba
Opera as Tonio in La fille du régiment. Recent
roles include Don Ottavio in Don Giovanni
at Teatro Colón, Narraboth in Salome at the
Verbier Festival and Almaviva in Il barbiere di
Siviglia at Grand Théâtre de Genève.
Jacquelyn Wagner
Matthew Worth
Fiordiligi
Guglielmo
The Berliner Morgenpost
exclaims “None can surpass the seductive vocal
elegance of soprano Jacquelyn Wagner,” who sings
her first performances of Rosalinde in Die
Fledermaus in a return to Opéra National du
Rhin in the 2011–2012 season. She also returns
to the Deutsche Oper Berlin for Micaëla in
Carmen and joins Opéra National de Bordeaux for Donna Anna in Don Giovanni.
Last season, she sang her first performances of
Agathe in Der Freischütz with Opéra de Toulon, made her long awaited American operatic
debut as Donna Anna in Don Giovanni with
Florida Grand Opera, sang the Countess in Le
nozze di Figaro with Oper Frankfurt and Theater Basel, and returned to Deutsche Oper
Berlin to reprise Nuri in Tiefland and the
Countess in Le nozze di Figaro.
The role of Fiordiligi has brought
great success to her at the Grand Théâtre de
Genève, Vlaamse Oper, Staatstheater Stuttgart, Opera de Marseille and Opéra National
du Rhin. She also recently sang Donna Anna
with Opéra de Lyon and Opera Fuoco and the
Countess in a new Theater Basel.
For more biographical information
about these artists, visit our website
at mnopera.org/season or go to
get.neoreader.com on your smartphone
and then snap this tag.
Hailed by the Dallas
Morning News for his
“dashing, fine bright baritone” and The New York
Times for a voice that is
“fully powered and persuasively expressive,”
baritone Matthew Worth was recently the
featured “Sound Bites” artist in Opera News.
Mr. Worth makes his debut with Lyric
Opera of Chicago as Harlekin in Ariadne auf
Naxos in the 2011–2012 season, returns to Virginia Opera as the title role in Philip Glass’ Orphée
and reprises the role of Charlie in Heggie’s Three
Decembers in his Fort Worth Opera debut. In the
summer of 2011, he made his debut with Santa Fe
Opera as Valentin in Gounod’s Faust.
Recent roles include his Figaro in Il barbiere di Siviglia with Pittsburgh Opera and
Connecticut Concert Opera; Demetrius in A
Midsummer Night’s Dream with Boston Lyric
Opera; Tarquinius in The Rape of Lucretia
with uc – Berkeley, Papageno in Die Zauberflöte and Mercutio in Roméo et Juliette with
New Orleans Opera Association, the title role
in Don Giovanni with Virginia Opera and
the title role in Britten’s Owen Wingrave with
Chicago Opera Theater.
New York: nyc Opera’s
Séance on a Wet Afternoon,
Primary Stages’ Secrets
of the Trade, Manhattan
Theatre Club’s Nightingale,
mcc’s Grace, Paul Scott Goodman’s Rooms, A
Rock Romance, William Finn’s Make Me a Song,
Tryst, Roulette and The Last Sunday in June,
The New Group’s Servicemen, Manipulation,
Othello and Measure for Measure, among others.
Regional: works for the Alley Theatre,
Arena Stage, Arizona Theatre, Asolo Rep,
Cincinnati Playhouse, Cleveland Playhouse,
Colorado Ballet, Florida Stage, Ford’s Theatre
dc, Goodspeed Opera, Guthrie Theater,
Hartford Stage, ny Stage and Film, Northlight, Paper Mill Playhouse, Pasadena Playhouse, Philadelphia Theatre Co., Pittsburgh
Public, Saint Louis Rep, Signature Theatre
va, The Old Globe, Westport Country Playhouse, Williamstown Theatre Festival and
Wolf Trap Opera, among others.
International: Edinburgh Festival Fringe
and Donetsk Opera Ukraine.
Others: Ringling Bros Barnum & Bailey Boom’A’Ring and Radio City Music Hall
Rockettes 2011 publicity costumes.
MINNESOTA OPERA’S
2012–2013
Resident
Artist
Program
Local auditions for
Minnesota Opera’s
Resident Artist Program
will be held in Minneapolis
November 15–19, 2011.
Applications are due
October 17. Applications
and further information
may be found at
mnopera.org/RAP.
Minnesota Opera Resident Artist Jonathan
Kimple as Talbot in Donizetti’s Mary Stuart.
Photo by Michal Daniel.
The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the
Minnesota Opera Resident Artist Program.
| COSÌ FAN TUTTE
Peter Rothstein is the
Founding Artistic Director of Theater Latté Da, a
Twin Cities-based company dedicated to new
music theater. He has been awarded: Best
Director of 2011 by City Pages, a 2001 and 2007
Minnesota Artist of the Year from the Star Tribune and the 2007 and 2010 Theater Artist of
the Year from Lavender Magazine. Peter works
extensively for the Guthrie Theater, where he
directed M. Butterfly and Private Lives, winning best production and best director of 2007
from the Star Tribune. In 2011, he directed the
Children’s Theatre Company’s record-breaking
production of Annie and the award-winning
Doubt for Ten Thousand Things. He is the
creator of All is Calm: The Christmas Truce of
1914, a partnership with Theater Latté Da and
Cantus. Peter has been awarded grants and fellowships from the McKnight Foundation, the
Minnesota State Arts Board, Theater Communications Group and the National Endowment
for the Arts. He has a Bachelor of Arts degree
in music and theater from St. John’s University
and a Master of Fine Arts in directing from the
University of Wisconsin.
13
the artists
MINNESOTA OPERA
ORCHESTRA
VIOLIN I
Allison Ostrander
concertmaster
Julia Persitz
David Mickens
Judy Thon-Jones
Angela Waterman Hanson
Andrea Een
CELLO
HORN
Jim Jacobson
Sally Gibson Dorer
Rebecca Arons
Thomas Austin
Charles Hodgson
Lawrence Barnhart
BASS
John Michael Smith
Constance Martin
Laurie Petruconis
Elizabeth Decker
Stephan Orsak
Melinda Marshall
Margaret Humphrey
Conor O’Brien
VIOLA
Susan Janda
Vivi Erickson
Laurel Browne
Jenny Lind Nilsson
Coca Bochonko
John G. Koopmann
Christopher Volpe
TIMPANI
Kory Andry
FLUTE
Michele Frisch
Amy Morris
VIOLIN II
TRUMPET
PERCUSSION
Matthew Barber
OBOE
CONTINUO
Michael Dayton
Justin Schwartz
Eric McEnaney
CLARINET
Alex Heetland
Clark Rahman
David Ross
Ben Wagner
SUPERNUMERARIES
Johnny Teyssier
Nina Olsen
Bassoon
Coreen Nordling
Laurie Hatcher Merz
MINNESOTA OPERA
CHORUS
Nathan Bird
Kristen Bond
Carolyn Cavadini
Ben Crickenberger
Peter Frenz
Gretchen Gamm
Thomas Glass
Cresta Hubert
Kathleen Humphrey
Elizabeth Kohl
Michelle Liebl
Riley McNutt
Mary Monson
Rodolfo Nieto
Colyn Tvete
Daniel Weinstein
Performances of Così fan tutte are being
recorded for delayed broadcast on Minnesota
Public Radio, ksjn 99.5 in the Twin Cities.
| MINNESOTA OPERA mnopera.org
Minnesota Opera Resident Artist Program:
Class of 2011–2012
14
From late August through April, Resident Artists
gain valuable performing experience in our mainstage
productions. Assignments range from ensemble,
understudy and comprimario to leading roles during
the opera season as well as outreach, concerts and
events. Master classes with guest artists, individualized
language classes, coaching from our artistic staff, acting,
movement and stage combat training, tai chi, yoga and
professional career development are just a few of the
benefits of the program.
We are pleased to welcome the Class of 2011–2012 roster
of Resident Artists. Soprano Angela Mortellaro and
mezzo-soprano Victoria Vargas return, as well as assistant
conductor/chorus master Clinton Smith, assistant
director Octavio Cardenas and coach/accompanist
Eric McEnaney. New in the 2011–2012 season are tenors
A.J. Glueckert and John Robert Lindsey, baritone
Gabriel Preisser, bass Joseph Beutel, coach/accompanist
Aaron Breid and administrator Mary-Lacey Rogers.
Learn more about them at mnopera.org/RAP.
Photography by Theresa Murry. Pictured above left to right BACK ROW: Aaron Breid, Clinton Smith, Joseph Beutel, Gabriel Preisser, A.J. Glueckert,
Eric McEnaney. FRONT ROW: Octavio Cardenas, Angela Mortellaro, Victoria Vargas, Mary-Lacey Rogers, John Robert Lindsey.
15
| COSÌ FAN TUTTE
| MINNESOTA OPERA mnopera.org
SPENCER STUART
IS PROUD TO SUPPORT
MINNESOTA OPERA
18
We are pleased to present guest conductor
Maestro Christopher Franklin in Minnesota
Opera’s production of Così fan tutte.
Tempo is a membership program for
both new and seasoned opera-goers
ages 21–39. Your $50 Tempo membership
includes exciting benefits to help you get
acquainted with Minnesota Opera.
UPCOMING TEMPO EVENTS:
Oct. 26 Silent Night Preview Event
Nov. 12 Silent Night Tempo Night Out
Tempo
+ After Night
Party Out + After Party
mnopera.org/tempo | 612-333-6669
Email us: [email protected]
Check out our blog: mnopera-tempo.blogspot.com
Official home of
Tempo Night Out + After Party
for the 2011–2012 season
Follow Tempo
on Facebook®
Thank you to the sponsors of Opera Tasting 2011:
City Pages, l’étoile, Toast, Solo Vino, The Loop
© Clare Pix Photography www.clarepix.com
Dec. 8 Opera Bootcamp: Basic Training
!
H
A
P
O
GREEK RESTAURANT
(612) 871-2111
2632 Nicollet Ave. S. • Minneapolis
| COSÌ FAN TUTTE
Flaming
Saganaki
and other
cool dishes
19
Individual Tables
Major Sponsor
Martha and Dan Aronson
Karen Bachman &
Virginia and Ed Stringer
Mary and Gus Blanchard
Judy Dayton & Mary W. Vaughan
Mary and Gus Blanchard
Honorary Gala Chairs
Vicki and Chip Emery
Gala Chairs
Vicki and Chip Emery
Margaret and Andrew Houlton
Ascent Private Capital Management
Octavio Cardenas
Lucy R. Jones and James E. Johnson
Cindy and Steven Vilks
Accenture LLP
Special Thanks
Mary Ingebrand-Pohlad
Leni and David Moore
3M
Beganik Strategy + Design
Ruth and John Huss
Martha and Art Kaemmer
Corporate Tables
Community Cultivation Committee
Margaret Houlton
James E. Johnson
Cargill
Comcast
Dorsey & Whitney LLP
Faegre & Benson LLP
Minnesota Opera Board of Directors
Okabena Advisors
Minnesota Opera Volunteers
Spencer Stuart
Kevin Ramach
Target
| MINNESOTA OPERA mnopera.org
Auction Donors (As of August 25, 2011)
20
3M s Acme Comedy Company s Adogo Pet Hotels s al Vento s Duncan Alexander s Floyd Anderson s Jamie Andrews
Martha Goldberg Aronson s Arthur Murray Dance Studio MPLS s Avant Hair and Cosmetics s Karen Bachman
Thomas Bakken s Barkley’s Bistro s Barnes & Noble s Wendy Bennett s Big Picture Framing s Bistro 11 s Gus Blanchard
Shari Boehnen s Susan Boren s Boston Lyric Opera s Beth Bowman s Bradford Renaissance Portraits s Breadsmith
Cafe Latté s Colton Carothers s Kathleen Callahan s Bruce Cammack s Katherine Castille
Rachelle D. Chase and John Feldman s Chocolate BonaVita s Rusty and Burt Cohen s ComedySportz
Jane and Ogden Confer s Judy Dayton s Cy DeCosse s Jodi Dehli s Denny Kemp Salon - Spa s Patrick Dewane
Mary DibbernsSara and Jock Donaldson sJoshua DorothysEcolabsLeora Effinger-WeintraubsChip EmerysE-quip Africa
Everest on Grand s Fargo-Moorhead Opera s Bianca Fine s Steve Fox s France 44 s General Mills s Glimmerglass Opera
Guthrie Theater s HAUS SalonsSharon HawkinssHell’s KitchensHennepin Theatre TrustsHistory TheatresPeter Hoks
Tucker Hollingsworth s Fran and Arthur Horowitz s Margaret and Andrew Houlton s Ruth Huss s Heinz Hutter
Philip Isaacson s James Sewell Ballet s Dana M. Johnson s Jim Johnson s Patricia Johnson s Lucy R. Jones
Karin Newstrom Photography s Sarah Kass s Kathleen Interiors s Angela Keeton s Kelly Kuczkowski
Carolina Lamas s Sarah Langford s Chris Larsen s Chillon Leach s Robert Lee s Len Druskin, Inc. s Susan Leppke
Jimmy Longoria s Lynne Looney s Dawn Loven s mackmiller design+build s MakeMusic, Inc. s Marty Mathis Direct
The Master’s Company for Monte Carlo s Erin McLennon s David Meline s Milkweed Editions
Minneapolis Institute of Arts s Minnesota Jewish Theatre Company s Minnesota Opera Scene Shop
Minnesota State Fair s Minnesota Twins s Minnesota Wild s Minnesota Youth Symphonies s Minnesota Zoo
Leni Moore s Bill Murray s Theresa Murray s Allan Naplan s The National Lutheran Choir s New Scenic Café
Jamie Nieman s Greg and Sue Novak s Old Log Theater s Sarah Olson s Opera Theatre of St. Louis s Ordway
Organized Today s Luis Pagan-Carlo s Park Square Theatre s Megan Pelka s Jose Peris s Sydney and Bill Phillips
Piccolo s Brad Pleimann s Mary Ingebrand-Pohlad s Ragamala Dance s Kevin Ramach s Mike Reed s Sergio Rial
Ribnick Fur & Leather s Terri Ristow s Robyne Robinson s Don Romanaggi s The Rose Ensemble
Saint Paul Conservatory of Music s The Saint Paul Hotel s Beth Sanders s The Santa Fe Opera s The Schubert Club
Chris and Mark Schwarzmann s Science Museum of Minnesota s Shedd Aquarium s The Shout! House
Bonnie and Peter Sipkins s Emily Skoblik s Rhonda Skoby s Barry Snyder s Social Dance Studio s Southview Design
Spill the Wine s Simon Stevens s Roxy Stouffer-Cruz s Summit Brewing s Surly Brewing Company s Textured Elements
Time Out Studio s The Toro Company s Stephen Trevino s Twin Cities Gay Men’s Chorus s Mary W. Vaughan
Steven and Cindy Vilks s Vincent - A Restaurant s Lauren Viner s VocalEssence s Bernt von Ohlen
Waddell InteriorssWalker Art CentersWalt Disney WorldsWilcock GallerysThe Wildcat SanctuarysSharon Winslow
Wisteria Design StudiosJenna WolfsLisa WolfesMargaret WurtelesZenon Dance Company and SchoolsDaniel Zillmann
21
| COSÌ FAN TUTTE
education at the opera
SUMMER
OPERA CAMP
Teens from around Minnesota
and western Wisconsin
spent a very intensive week
in June learning, staging
and performing scenes
from Nixon in China, La
Cenerentola, Don Giovanni,
and Madame Butterfly among
others. Each day the singers
had music and staging
rehearsals along with sessions
in movement. The singers
were accompanied by a
chamber orchestra made
up of teens.
Check out videos and more
pictures of the camp at
imagineopera.org.
| MINNESOTA OPERA mnopera.org
Photo: Johanna Ruby in the middle
of an acting game
22
FEIN STRINGED
INSTRUMENTS
Dealers, Repairers and Makers of
Violins,Violas, Cellos and Bows
Andrew Fein
GREAT INSTRUMENTS
Beautiful Wood Music Stands
ON-LINE & ON GRAND AVENUE
www.FineViolins.com
1850 Grand Ave. / St. Paul, MN 55105
651.228.0783 / 800.347.9172
education at the opera
CARMEN IN ALEXANDRIA
In January, Teaching Artist Angie Keeton led an incredible
week-long residency in Alexandria, Minnesota. Over
the course of the week, Angie presented public lectures
throughout the community in addition to multiple
classroom visits. Other performers joining Angie were
Resident Artist Rodolfo Nieto and regular Minnesota
Opera singers Tricia Van Ee and Jon Thomas Olson.
The residency culminated in a performance of an
adapted concert version of Bizet’s Carmen. Performing
alongside the Opera artists were the Central Lakes
Symphony Orchestra, Jefferson High School Carolers
and the local children’s chorus, with narration
performed by Jefferson High School students.
Full cast of Carmen
Photo by Coenen Photography
Artist residencies like these are
generously supported by
The Medtronic Foundation.
Interested in bringing the Minnesota Opera
to your school or community?
Members of the Carmen Children’s Chorus
Photo by Coenen Photography
| COSÌ FAN TUTTE
Call Jamie Andrews at 612-342-9573
for more information.
23
ONSTAGE
get noticed.
Advertising in the
Minnesota Opera program
magazine will get you noticed.
[email protected]
www.artsandcustom.com
952.843.4603
SEPTEMBER
Sept 23 & 24, 7:30pm; Sept 25, 2 pm McKnight
Ordway Theater Season
Broadway Songbook Series
The Words and Music of Irving Berlin
Sept 24, 8pm; Sept 27 & 29 7:30pm;
Oct 1, 7:30pm; Oct 2, 2pm
Minnesota Opera
Così fan tutte by Wolfgang Amadeus Mozart
OCTOBER
Oct 4, 8pm
The Schubert Club
Sarah Chang, violin
& Andrew von Oeyen, piano
Oct 6-30 Times Vary McKnight
Theater Latté Da
25th Annual Putnam County Spelling Bee
Oct 6, 7:30pm; Oct 7, 10:30am; Oct 8, 8pm
The Saint Paul Chamber Orchestra
Biss Plays Mozart and Kurtág
Oct 8, 9:30 & 11am
The Saint Paul Chamber Orchestra
Ordway Family: Inside Mozart’s Piano
Oct 11-16 Times Vary
Ordway Theater Season
Frank Sinatra/Twyla Tharp Dance Musical
Come Fly Away
Oct 21, 7pm; Oct 22, 2 & 7:30pm
Sing-A-Long Sound of Music
Oct 25, 7:30pm
Ordway Target® Dance Series
Luna Negra Dance Theater
Oct 28, 7:30pm
Ordway Target World Music Series
Magos Herrera
| MINNESOTA OPERA mnopera.org
Oct 29, 8pm
The Saint Paul Chamber Orchestra
Leila Josefowicz Plays Berg
24
Oct 30, 7:30pm
Ordway Target World Music Series
Vox Lumiere The Phantom of the Opera
ordway.org
Target World Music and Dance Series
is generously sponsored by
minnesota opera staff
BOARD OF DIRECTORS
President and General Director | Allan Naplan
Artistic Director | Dale Johnson
OFFICERS
ARTISTIC
SCENERY
Chip Emery, Chair
Artistic Administrator | Roxanne Stouffer Cruz
Artist Relations and Planning Director
Floyd Anderson
Dramaturg | David Sander
Artistic Associate | Bill Murray
Head of Music | Mary Dibbern
Resident Artists
Joseph Beutel, Aaron Breid, Octavio Cardenas,
A.J. Glueckert, John Robert Lindsey,
Eric McEnaney, Angela Mortellaro,
Gabriel Preisser, Mary-Lacey Rogers,
Clinton Smith, Victoria Vargas
Master Coach | Mary Jo Gothmann
Technical Director | Mike McQuiston
Properties Master | Jenn Maatman
Properties Assistant | Michael C. Long
Lighting Coordinator | Raymond W. Steveson, Jr.
Assistant Lighting Coordinator | Tom Rost
Production Carpenter | JC Amel
Scene Shop Foreman | Rod Aird
Master Carpenters
Steven Rovie, Eric Veldey
Carpenters
Nate Kulenkamp, Steve Dalglish, Martin Reitz,
Kevin O’Leary, Molly Diers, Jarrod Iverson
Charge Painter | Jeffery Murphey, Lili Payne
Allan Naplan, President and General Director
EDUCATION
ADMINISTRATION
Community Education Director | Jamie Andrews
Teaching Artist | Angie Keeton
Project Opera Music Director | Dale Kruse
Project Opera Accompanist | Kathy Kraulik
Interns | Ana Ashby, Daniel Weinstein
Finance Director | Jeff Couture
Operations/Systems Manager | Steve Mittelholtz
HR/Accounting Manager | Jennifer Thill
Executive Assistant | Theresa Murray
Finance Assistant | Michelle Gould
Data and Website Specialist | Ryan Vink
Costume Shop Manager | Erica M. Burds
Assistant Costume Shop Manager | Beth Sanders
Wardrobe Supervisor | Emily Rosenmeier
Drapers | Chris Bur, Diana Girtain, Yancey Thrift
Dyer/Painter | Marliss Jensen
First Hands
Helen Ammann, Kelsey Glasener,
Allison Guglielmi
Stitchers
Rebecca Ballas, Ann Habermann,
Rachel Skudlarek
Wig/Makeup Supervisor | Andrea Moriarity
Wendy Bennett
Lynne E. Looney
Shari Boehnen
David Meline
Susan S. Boren
Leni Moore
Kathleen Callahan
Luis Pagan-Carlo
Rachelle D. Chase
Jose Peris
Jane Confer
Bradford Pleimann
Jodi Dehli
Mary Ingebrand-Pohlad
Chip Emery
Stephanie J. Prem
Bianca Fine
Sergio Rial
Steve Fox
Don Romanaggi
Sharon Hawkins
Mark Schwarzmann
Margaret Houlton
Peter Sipkins
Ruth Huss
Barry Snyder
Heinz F. Hutter
Simon Stevens
Philip Isaacson
Bernt von Ohlen
James Johnson
Sharon Winslow
MARKETING/COMMUNICATIONS
Patricia Johnson
Margaret Wurtele
Marketing & Communications Director | Lani Willis
Marketing Manager | Katherine Castille
Communications Manager | Daniel R. Zillmann
Marketing Associate | Kristin Matejcek
Ticket Office Manager | Julie Behr
Assistant Ticket Office Manager | Kevin Beckey
Ticket Office Associate | Kristen Bond
Ticket Office Assistants
Carol Corich, Nicole Hanson, Jane Samsal,
Katherine Skovira, Carrie Walker
Interns | Clark Rahman, Carrie Walker
Christine Larsen
INSTITUTIONAL ADVANCEMENT
Vice President of Advancement | Patrick Dewane
Advancement Manager | Kelly Kuczkowski
DEVELOPMENT
Director of the Annual Fund | Dawn Loven
Institutional Gifts Manager | Beth Comeaux
Donor Events and Gala Manager | Emily Skoblik
Individual Gifts Officer | Jenna Wolf
The following volunteers contribute their time and talent in support of key activities of
Minnesota Opera. If you would like to learn more about volunteering for Minnesota Opera,
please email [email protected] or call Jenna Wolf at 612-342-9569.
Jeanie Johnston
Robin Keck
Dawn Klassen
Eleanore Kolar
David Lightstone
Jenny Lightstone
Jerry Lillquist
Joyce Lillquist
DIRECTORS
Robert Lee
minnesota opera volunteers
Gerald Benson
Debra Brooks
Jerry Cassidy
Judith Duncan
Jane Fuller
Joan Gacki
Merle Hanson
Anne Hasselroth
Heinz F. Hutter, Treasurer
Mary McDiarmid
Verne Melberg
Barbara Moore
Douglas Myhra
Candyce Osterkamp
Dan Panshin
Pat Panshin
Sydney Phillips
John Sauer
Wendi Sott
Mary Weitz
Terese Weitzel
Barbara Willis
Minnesota Opera is a proud member of The Arts Partnership with Ordway Center
for the Performing Arts, The Saint Paul Chamber Orchestra and The Schubert Club.
EMERITI
Karen Bachman
Julia W. Dayton
John A. Blanchard, III
Mary W. Vaughan
Burton Cohen
HONORARY DIRECTORS
Dominick Argento
Norton M. Hintz
Philip Brunelle
Liz Kochiras
Dolly Fiterman
Patricia H. Sheppard
Charles C. Fullmer
The Staff and Board of Minnesota Opera were
saddened by the recent passing of Lifetime Board
Member Charles Fullmer. One of the early pioneers
of Minnesota Opera, Charles helped to create a
unique place in American opera.
LEGAL COUNSEL
James A. Rubenstein, Moss & Barnett
| COSÌ FAN TUTTE
COSTUMES
Stephanie Prem, Secretary
Martha Goldberg Aronson
PRODUCTION
Production Director | Kevin Ramach
Production Stage Manager | Alexander Farino
Assistant Stage Managers
Shayna j. Houp, Andrew Landis
Production Administrative Assistant
Katherine Cattrysse
Rachelle D. Chase, Vice Chair
25
annual fund | individual giving
It is with deep appreciation that Minnesota Opera recognizes and thanks all of the individual donors whose annual support
helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support
provides the financial foundation which makes the Opera’s artistic excellence possible.
For information on making a contribution to Minnesota Opera, please call
the Director of the Annual Fund Dawn Loven at 612-342-9567, or email her at [email protected].
bel canto circle
Platinum
$20,000 and above
Anonymous
Karen Bachman
Mary and Gus Blanchard
Jane M. and Ogden W. Confer
Julia W. Dayton
Vicki and Chip Emery
Ruth and John Huss
Heinz Hutter
Mr. and Mrs. Philip Isaacson
James E. Johnson
Lucy Rosenberry Jones
The Art and Martha Kaemmer
Fund of HRK Foundation
Elizabeth Redleaf
Mary W. Vaughan Fund of
The Minneapolis Foundation
C. Angus and Margaret Wurtele
Gold
$15,000–$19,999
Ellie and Tom Crosby, Jr.
Cy and Paula Decosse Fund of
The Minneapolis Foundation
William I. and Bianca M. Fine
Charitable Trust
Carolyn, Sharon and Clark Winslow
Silver
$10,000–$14,999
Anonymous
Susan Boren
Sara and Jock Donaldson
Dolly J. Fiterman
Mary and Barry Lazarus
Albin and Susan Nelson
Jenny Lind Nilsson and
Garrison Keillor
Harvey T. McLain
Mrs. Walter Meyers
Moore Family Fund for the Arts
Diana and Joe Murphy
Mary Ingebrand Pohlad
Joseph Sammartino
camerata circle
Platinum
$7,500–$9,999
Tracy and Eric Aanenson
Allegro Fund of
The Saint Paul Foundation
Shari and David Boehnen
Dr. and Mrs. Daniel D. Buss
Nicky B. Carpenter
Rachelle Dockman Chase
N. Bud and Beverly Grossman
Foundation
Sharon and Bill Hawkins
Erwin and Miriam Kelen
Stephanie Prem and Tom Owens
Connie and Lew Remele
Chris and Mark Schwarzmann
Maggie Thurer and Simon Stevens
Bernt von Ohlen and Thomas Nichol
Gold
$5,000–$7,499
Anonymous (2)
James Andrus
Martha Goldberg Aronson and
Daniel Aronson
Martha and Bruce Atwater Fund of
The Minneapolis Foundation
William Biermaier and David Hanson
Kathleen Callahan
Darlene J. and Richard P. Carroll
Mary Lee Dayton
Connie Fladeland and Steve Fox
Mr. and Mrs. William Frels
Denver and Nicole Gilliand
Alfred and Ingrid Lenz Harrison
Bill and Hella Mears Hueg
Margaret and Andrew Houlton
Cynthia and Jay Ihlenfeld
Patricia Johnson and Kai Bjerkness
Debra and James Lakin
Chris Larsen and Scott Peterson
Robert L. Lee and Mary E. Schaffner
Ilo and Peggy Leppik
Lynne Looney
Mr. and Mrs. Donald Lucker
Barbara and David Meline
Bill and Barbara Pearce
Jose Peris and Diana Gulden
Shawn and Brad Pleimann
Sergio Rial
Lois and John Rogers
Patricia and Don Romanaggi
Jennifer and Chris Romans
Drs. Joseph and Kristina Shaffer
Stephanie Simon and
Craig Bentdahl
Peter and Bonnie Sipkins
Susan and Barry Snyder
Virginia L. and Edward C. Stringer
Mr. and Mrs. James Swartz
Lori and Herbert Ward
Anonymous (4)
Annette Atkins and Tom Joyce
Alexandra O. Bjorklund
Dr. Lee Borah, Jr.
Margee and Will Bracken
Christopher J. Burns
Susan and Richard Crockett
Gisela Corbett
Thomas and Mary Lou Detwiler
Mona and Patrick Dewane
Ralph D. Ebbott
Nancy and Rolf Engh
Patricia R. Freeburg
Christine and Jon Galloway
Lois and Larry Gibson
Meg and Wayne Gisslen
Mrs. Myrtle Grette
Michelle Harris and Peter Tanghe
Dorothy Horns and James Richardson
Dr. and Mrs. Arthur Horowitz
James Jelinek and Marilyn Wall
Dale A. Johnson
Jacqueline Nolte Jones
Robert and Susan Josselson
Kathleen and John Junek
Warren and Patricia Kelly
Lyndel and Blaine King
Robert Kriel and Linda Krach
Helen L. Kuehn
David MacMillan and Judy Krow
Margery Martin and Dan Feidt
Roy and Dorothy Mayeske
Mary Bigelow McMillan
Karla Miller
Allan Naplan and Christina Harrop
Nancy and Richard Nicholson
Kelly and Michael Palmer
Marge and Dwight Peterson
Mr. and Mrs. William Phillips
Redleaf Family Foundation
Mary and Paul Reyelts
Kim and Peter Rue
Nina and Ken Rothchild
Kay Savik and Joe Tashjian
Fred and Gloria Sewell
Lynda and Frank Sharbrough
Kevin and Lynn Smith
Carolyn and Andrew Thomas
William Voedisch and
Laurie Carlson
Ellen M. Wells
Nancy and Ted Weyerhaeuser
Joan Duddingston
Joyce and Hugh Edmondson
Ann Fankhanel
Ester and John Fesler
Joyce and Hal Field
Gail and Donald Fiskewold
Lori and Tom Foley
Salvatore Silvestri Franco
Kris and Kristina Fredrick
Bradley Fuller and Elizabeth Lincoln
Katy Gaynor
Mr. and Mrs. R. James Gesell
Heidi and Howard Gilbert
Stanley and Luella Goldberg
Sima and Clark Griffith
Bruce and Jean Grussing
Mr. and Mrs. Roger Hale
Hackensack Fund of
The Saint Paul Foundation
Don Helgeson and Sue Shepard
Andrew Holly and
Svea Forsberg-Holly
Jean McGough Holten
Bill and Hella Mears Hueg
Thomas Hunt and John Wheelihan
Ekdahl Hutchinson Family Fund of
The Minneapolis Foundation
Teresa and Chuck Jakway
Barbara Jenkins
Wadad Kadi
Stan and Jeanne Kagin
Nancy and Donald Kapps
Markle Karlen
Thomas A. Keller, iii
Silver
$2,500–$4,999
| MINNESOTA OPERA mnopera.org
artist circle
26
$1,000–$2,499
Anonymous (2)
Arlene and Tom Alm
Kim A. Anderson
Jamie Andrews and Jane Kolp-Andrews
Nina and John Archabal
Satoru and Sheila Asato
Ruth and Dale Bachman
Ann and Thomas Bagnoli
Maria and Kent Bales
Mrs. Paul G. Boening
Allan Bradley
Ellen and Jan Breyer
Conley Brooks Family
Juliet Bryan and Jack Timm
Ann and Glen Buttermann
Elwood and Florence Caldwell
Joan and George Carlson
Mr. and Mrs. Richard A. Carlson
Rusty and Burt Cohen
In Memory of Kathy Coleman
Barb and Jeff Couture
Mrs. Thomas M. Crosby, Sr.
Helen and John Crosson
Jeff and Wendy Dankey
Mary and Kevin Date
Clarke Davis
Fran Davis
Judson Dayton
Ruth and Bruce Dayton
The Denny Fund of
The Minneapolis Foundation
Margaret DiBlasio
Elise Donohue
annual fund | individual giving
artist circle (continued)
E. Robert and Margaret V. Kinney Fund
of The Minneapolis Foundation
Gerard Knight
Mrs. James S. Kochiras
Kyle Kossol and Tom Becker
Constance and Daniel Kunin
Mark and Elaine Landergan
Diane and David Lilly, Jr.
Mr. and Mrs. B. John Lindahl, Jr.
Bill Long
Dawn M. Loven
Mr. and Mrs. Reid MacDonald
Barbara McBurney
Helen and Charles McCrossan
Sheila McNally
Judith and James Mellinger
Kendrick B. Melrose Family Foundation
Velia R. Melrose
David and LaVonne Middleton
Dr. and Mrs. Alfred Moore
Sandy and Bob Morris
Judy and David Myers
Elizabeth B. Myers
Joan and Richard Newmark
Eric Norman
Julia and Brian Palmer
Pat and Dan Panshin
Paula Patineau
Suzanne and William Payne
Suzanne and Rick Pepin
Mary and Robert Price
Connie and Jim Pries
Sara and Kevin Ramach
John and Sandra Roe Foundation
Thomas D. and Nancy J. Rohde
Gordon and Margaret Rosine
Chris and Jeff Rotsch
Andrea and James Rubenstein
Kristine and Roger Ruckert
Terry Saario and Lee Lynch
Sampson Family Charitable Foundation
Dr. and Mrs. Richard J. Schindler
Karen and Mahlon Schneider
Ardath and Glenn Solsrud
Matthew Spanjers
Julie and Bruce Steiner
Dana and Stephen Strand
Michael Symeonides and Mary Pierce
Tempo Board Members
Stephanie C. Van D’Elden
Mr. and Mrs. Philip Von Blon
Dr. Craig and Stephanie Walvatne
James and Sharon Weinel
Lani Willis and Joel Spoonheim
Ken and Peggy Bonneville
Judith and Arnold Brier
Debra Brooks and James Meunier
Dr. Hannelore Brucker
Thomas and Joyce Bruckner
Joann Cierniak
J.P. Collins
William Brody and Bronwen Cound
Amos and Sue Deinard
Mary Elise Dennis
Mary Jean and John deRosier
Holli Egerstrom
Kingston Fletcher
Mr. and Mrs. John Forsythe
Terence Fruth and Mary McEvoy
Family Fund of The Minneapolis
Foundation
Joan and William Gacki
Roger L. Hale and Nor Hall
Albert and Janice Hammond
Frederick J. Hey Jr.
Marna and John Holman
Diane and Paul Jacobson
Janet N. Jones
Drs. Charles and Sally Jorgensen
Jane and Jim Kaufman Fund of
The Minneapolis Foundation
Scott Lalim
Ruth W. Lyons
Mahley Family Foundation
Tom and Marsha Mann
Lois and Tom Martin
Donald Masler
Carolyn and Charles Mayo
Laura McCarten
Katherine Merrill
Jack and Jane Moran
Theresa and Jim Murray
Ann and John O’Leary
Dennis R. Olson
Lawrence O’Shaughnessy
Derrill M. Pankow
James A. Payne
Dwight and Christina Porter
Carroll and Barbara Rasch
Dennis M. Ready
Debra Rectenwald
Lawrence M. Redmond
Dr. Ann M. Rock
Richard T. and Liane A. Rosel
Enrique and Clara Rotstein
David E. Sander
Christian and Mary Schrock
Cherie and Robert Shreck
Clifford C. and Virginia G. Sorensen
Charitable Trust of The Saint Paul
Foundation
Jon Spoerri and Debra Christgau
Judith Stone
Roxanne and Joseph Cruz
Dr. Anthony Thein
Jill and John Thompson
Emily Anne and Gedney Tuttle
David L. Ward
Mary Weinberger
Howard and Jo Weiner
Barbara and Carl White
Barbara and James Willis
Keith and Margaret Lindquist
Dr. Joan E. Madden
Donald and Rhoda Mains
Orpha McDiarmid Family Fund
Dr. L. David Mech
Jane and Joseph Micallef
Virginia Miller
Steven J. Mittelholtz
Michael J. and Judith Mollerus
Brad Momsen and Rick Buchholz
Jill Mortensen and S. Kay Phillips
Virginia Dudley and William Myers
Sarah Nagle
Merritt C. Nequette and
Pauline Lambert
Lucia Newell
Lowell and Sonja Noteboom
Dr. Dorothy Novak
Ben and Lynn Oehler
Patricia A. O’Gorman
Scott J. Pakudaitis
Mark Palmer
Lana K. Pemberton
Mary Helen Pennington M.D.
Eric Peterson and Jenna Wolf
Kathleen M. Philipp
Sandra Resnick and Walter Pickhardt
Stephen and Julianne Prager
Nicole and Charles Prescott
Dan Rasmus and Kari Fedje Rasmus
Jim and Lauri Roberts
Dr. Hanan J. Rosenstein
Daniel Roth
Kathleen and Mike Ruhland
Thomas Ryan
Mary Savina
Deborah and Allan Schneider
Paul L. Schroeder
Mrs. Donald Sell
Mr. and Mrs. Morris Sherman
Debra Sit and Peter Berge
Daniel J. Spiegel Family Foundation
Thomas and Sharon Stoffel
Lowell and Deb Stortz
Vanesa and David Sutherland
Jean Thomson and John Sandbo
Susan Truman
Don and Holly Weinkauf
David and Karin Wendt
John and Sandra White
Wendy Wildung
David and Rachelle Willey
Daniel Richard Zillmann
patron circle
Gold
$750–$999
Barbara S. Belk
Gerald and Phyllis Benson
Susanne Haas and Ross Formell
Dusty Mairs
Stanislaw and Krystyna Skrowaczewski
Warren Stortroen
Cindy and Steven Vilks
Frank and Frances Wilkinson
John W. Windhorst Jr.
Silver
$500–$749
Anonymous
Floyd Anderson
August J. Aquila and Emily Haliziw
Dr. and Mrs. Orn Arnar
Suzanne Asher
Jo and Gordon Bailey Family Fund of
the Catholic Community Foundation
Susan Bienkowski
Martin and Patricia Blumenreich
$250–$499
Anonymous
Paul and Val Ackerman
Thomas O. Allen
Katherine Anderson
Charles and Mary Anderson
Quentin and Mary Anderson
Marcia J. Aubineau
Eric S. Anderson and
Janalee R. Aurelia
Ronald and Kay Bach
Thomas Bailey
James and Gail Bakkom
Bishu and Irina Bandyopadhyay
John and Patricia Beithon
Estelle T. Bennett
Allen Brookins-Brown
Stephen Bubul
Ellis Bullock
Jerome and Linda Carlson
Katherine Castille
Sandy and Doug Coleman
Marc and Virginia Conterato
Sage and John Cowles Jr.
Kay Dewane
Mary Dibbern
Herbert and Betty Fantle
Charles and Anne Ferrell
Brian M. Finstad
C.D.F. Foundation
Melanie and Bruce Flessner
Charlotte and Gene Frampton
Greta and Paul Garmers
Katherine and Robert Goodale Jr.
John and Lynn Goodwyne
Dr. Richard Gregory
Jennifer Gross and Jerry LeFevre
Russell and Priscilla Hankins
Douglas and Doris Happe
Jill A. Heath
Andrew Holey and Gary Whitford
Reverend and Mrs. Henry H. Hoover
Worth L. Hudspeth
Ray Jacobsen
Deborah and Ronald Jans
Erika and Herb Kahler
Jim and Kathleen Karges
Carole and Joseph Killpatrick
Janice L. Kimes
Alan and Ann Koehler
Robert and Venetia Kudrle
James and Gail LaFave
Beatrice H. Langford
Chris and Marion Levy
These lists are current as of September 1, 2011, and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign.
If your name is not listed appropriately, please accept our apologies and contact Jenna Wolf, Individual Gifts Associate, at 612-342-9569.
| COSÌ FAN TUTTE
associate circle
27
legacy circle | individual giving
Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or
estate plans. We invite you to join other opera-lovers by leaving a legacy gift to Minnesota Opera. If you have already made such a
provision, we encourage you to notify us that so we may appropriately recognize your generosity.
Anonymous (3)
Valerie and Paul Ackerman
Thomas O. Allen
Mr. and Mrs. Rolf Andreassen
Mary A. Andres
Karen Bachman
Mark and Pat Bauer
Mrs. Harvey O. Beek *
Barbara and Sandy Bemis *
Joan and George Carlson
Darlene J. and Richard P. Carroll
Julia and Dan Cross
Judy and Kenneth * Dayton
Mrs. George Doty
Rudolph Driscoll *
Sally Economon *
Ester and John Fesler
Paul Froeschl
Katy Gaynor
Robert and Ellen Green
Ieva Grundmanis *
Ruth Hanold *
Norton M. Hintz
Jean McGough Holten
Charles Hudgins *
Dale and Pat Johnson
Drs. Sally and Charles Jorgensen
Robert and Susan Josselson
Charlotte * and Markle Karlen
Mary Keithahn
Patty and Warren Kelly
Margaret Kilroe Trust *
Blaine and Lyndel King
Gretchen Klein *
Bill and Sally Kling
Gisela Knoblauch *
Mr. and Mrs. James Krezowski
Robert Kriel and Linda Krach
Venetia and Robert Kudrle
Robert Lawser, Jr.
Jean Lemberg *
Gerald and Joyce Lillquist
David Mayo
Barbara and Thomas * McBurney
Mildred McGonagle *
Mary Bigelow McMillan
Margaret L. and Walter S. * Meyers
John L. Michel and H. Berit Midelfort
Susan Molder *
Edith Mueller *
Joan and Richard Newark
Scott Pakudaitis
Sydney and William Phillips
Richard G. * and Liane A. Rosel
Mrs. Berneen Rudolph
Mary Savina
Frank and Lynda Sharbrough
Drew Stewart
James and Susan Sullivan
Gregory C. Swinehart
Stephanie Van D’Elden
Mary Vaughan
Dale and Sandra Wick
* In Remembrance
For more information on possible gift arrangements, please contact the Director of the Annual Fund Dawn Loven at 612-342-9567.
Your attorney or financial advisor can then help determine which methods are most appropriate for you.
DONOR SPOTLIGHT:
Nadege Souvenir and Jim Anderson, and Clare Gardner and Rodolfo Nieto
Mozart highlights the mischief and intrigue of two young couples in
his ever-popular comedic opera, Così fan tutte. Minnesota Opera has
two “star” couples of its own, who give their time, talents and financial
contributions to support the art form they love. Tempo members and
Annual Fund donors Nadege Souvenir and her husband Jim Anderson
are frequent fixtures at events and productions, as well as Tempo
member Clare Gardner and former Minnesota Opera Resident Artist
Rodolfo Nieto (who also goes by Rudy or Rodo).
| MINNESOTA OPERA mnopera.org
Nadege Souvenir and Jim Anderson
28
Tempo events are a great way for members to connect and share their
opera experience immediately after the opening night performance.
Clare says, “The parties have really grown in scope and creativity
in the last year and are a complete blast. I donate my skills as a
photographer for these events and love capturing the fun, camaraderie
and craziness!” The friendships that begin as part of the Minnesota
Opera family are truly lifelong; Nadege puts it best- “I have to say
that Tempo is one of my favorite things about being involved with
Minnesota Opera. I get to do what I enjoy with fantastic people.
What’s not to like?”
Nadege, Jim, Clare and Rudy support Minnesota Opera in many
different ways, through their involvement with Tempo, giving to the
Annual Fund and also donating their time and talents to the Company.
We extend a heartfelt thank you to them, as well as all our patrons,
who continue to make great opera possible here in Minnesota!
Rodolfo Nieto and Clare Gardner
For more information about Tempo, visit mnopera.org/tempo.
annual fund | institutional giving
minnesota opera sponsors
Season Sponsor
Production Innovation System
The Private Client Reserve at U.S. Bank
General Mills
Production Sponsors
Resident Artist Program
Così fan tutte
Target
Ascent Private Capital Management
Werther
Target
Wenger Foundation
Minnesota Opera
gratefully acknowledges its
major institutional supporters:
$100,000+
Tempo Cast Parties
Sakura
Opera Insights
Conductor Appearances
Comcast
SpencerStuart
Camerata Dinners
Champagne Intermission
Receptions
Lowry Hill
Piper Jaffray
Gala Sponsor
Broadcast Partner
U.S. Bank
Minnesota Public Radio
Meet the Artists Official Caterer
Macy’s Design Cuisine
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 from the
Minnesota arts and cultural heritage fund
with money from the vote of the people of
Minnesota on November 4, 2008.
$50,000–$99,999
corporations, foundations
and government
3M Foundation
Ameriprise Financial, Inc.
General Mills Foundation
The McKnight Foundation
The Medtronic Foundation
Minnesota State Arts Board
Target
The Private Client Reserve at
U.S. Bank
Travelers Foundation
U.S. Bancorp Foundation
UnitedHealth Group
The Wallace Foundation
Platinum $10,000–$24,999
Fred C. and Katherine B. Andersen
Foundation
Best Buy Children’s Foundation
Cargill Foundation
Comcast
The Aaron Copland Fund for Music, Inc.
Dorsey & Whitney Foundation
Ecolab Foundation
Ann and Gordon Getty Foundation
Anna M. Heilmaier Charitable Foundation
Lowry Hill
MAHADH Fund of HRK Foundation
National Endowment for the Arts
Piper Jaffray
SpencerStuart
Twin Cities Opera Guild
Valspar Foundation
Wells Fargo Foundation Minnesota
Wenger Foundation
Gold $5,000–$9,999
Accenture
Beim Foundation
Boss Foundation
Briggs and Morgan, P.A.
Faegre & Benson
Harlan Boss Foundation for the Arts
R. C. Lilly Foundation
Mayo Clinic
Pentair Foundation
The Carl and Eloise Pohlad Family
Foundation
Rahr Foundation
RBC Foundation – USA
Schwegman, Lundberg &
Woessner, p.a.
Securian Foundation
Thomson Reuters
Xcel Energy Foundation
$25,000–$49,999
Silver $2,500–$4,999
Allianz Life Insurance of
North America
Cleveland Foundation
COMPAS
Dellwood Foundation
Deloitte
Hutter Family Foundation
Ted and Dr. Roberta Mann Foundation
Peravid Foundation
The Elizabeth C. Quinlan Foundation
Margaret Rivers Fund
Robins, Kaplan, Miller & Ciresi
Tennant Foundation
$10,000–$24,999
Bronze Gifts $250–$2,499
Athwin Foundation
Bobby & Steve’s Augo World Youth
Foundation
The Curtis L. Carlson Family Foundation
Enterprise Holdings Foundation
Hammel, Green and Abrahamson, Inc.
Le Jeune Family Foundation
McVay Foundation
Maslon, Edelman, Borman & Brand
Onan Family Foundation
Sewell Family Foundation
Sit Investment Foundation
The Regis Foundation
Wells Fargo Insurance Services
For information on making a corporate or foundation contribution
to Minnesota Opera, please contact the Institutional Gifts Manager
Beth Comeaux at 612-342-9566 or email her at [email protected].
| COSÌ FAN TUTTE
Sponsors $25,000+
29
Kevin Smith
Legacy Campaign
The following donors contributed more than
$1 million to the Kevin Smith Legacy Campaign.
These gifts were made in honor of Kevin Smith’s
30 years of service to Minnesota Opera. The
fund secures the upkeep of the company’s
home, the Minnesota Opera Center.
kevin smith legacy campaign
Julia W. Dayton
Margaret and Angus Wurtele
Family Foundation
Vicki and Chip Emery
Huss Foundation,
Ruth and John Huss
Anonymous Fund of
The Minneapolis Foundation
Lucy Rosenberry Jones
Mary W. Vaughan
Susan S. Boren
Nicky B. Carpenter
Rachelle Dockman Chase
Anonymous
Ellie and Tom Crosby, Jr.
Cy and Paula DeCosse Fund of
The Minneapolis Foundation
William I. and Bianca M. Fine
Charitable Trust
Spencer Stuart
Karen Bachman
Heinz Hutter
Peter J. King
Carolyn, Sharon and Clark Winslow
Chris and Mark Schwarzmann
Darlene J. and Richard P. Carroll Family Fund
of The Minneapolis Foundation
Connie Fladeland and Steve Fox
Mr. and Mrs. Philip Isaacson
James E. Johnson
Leni and David Moore, Jr. /
Moore Family Fund for the Arts
of The Minneapolis Foundation
Barbara and Bill Pearce
Mary Ingebrand-Pohlad
Sara and Jock Donaldson
Diane and David Lilly
Lani Willis and Joel Spoonheim
Andrea and James Rubenstein
Dale A. Johnson
Mona and Patrick Dewane
Pat and Dan Panshin
Ester and John Fesler
Theresa and Jim Murray
Lucia Newell
Kathleen M. Grendzinski
Glyn R. Northington
Mr. and Mrs. William Phillips
Floyd Anderson
Jane Fuller
| MINNESOTA OPERA mnopera.org
Sustaining Giving
30
THANK YOU
Every year Minnesota Opera depends on the generosity of
many wonderful donors. Through monthly contributions
made by credit card, debit card, bank or checking account,
Sustaining Donors provide a solid foundation of financial
support. Donors also enjoy exclusive benefits.
FOR YOUR
To enroll in Minnesota Opera’s Sustaining Giving program, visit our new
page online at mnopera.org/SustainingGiving, call the Development
Office at 612-342-9569 to sign up by phone, or go to get.neoreader.com
on your smartphone and then snap this tag.
OPERA TO
GENEROSITY.
YOUR SUPPORT
BRINGS GREAT
MINNESOTA!
Re-envision Wealth
Introducing Ascent Private Capital Management of U.S. Bank, a service
established specifically for clients like you — families with significant
wealth who not only want to preserve and protect their assets, but
also want to put their fingerprint on history.
Ascent is proud to support Minnesota Opera.
Jose Peris
| COSÌ FAN TUTTE
Reginal Managing Director
612.303.3141
ascent.usbank.com
31
Deposit products offered by U.S. Bank National Association. Member FDIC.