minnesota opera's cinderella program
DESCRIPTION
1997-1998 SeasonTRANSCRIPT
The 2010–2011 Season
Rossini
| M
INN
ES
OTA
OPER
A m
nopera
.org
4
Total Annual Circulation: 976,000
For Advertising Opportunities:
952.843.4603www.artsandcustom.com
Proud to partner with
and offer advertising within
the following Arts publications:
•••••••••••••••••••••••••••••••
| C
IND
ER
ELL
A
5
Large-print and Braille programs are available at the Patron Services Offi ce
contents 6 Minnesota Opera Staff and Volunteers
7 Director’s Notes
10 Cinderella
11 Synopsis
12 Background Notes
16 Gioachino Rossini
17 The Artists
20 Minnesota Opera Orchestra and Chorus
21 Become a Subscriber
22 Education at the Opera
24 Tempo
26 Up Next: Mary Stuart
28 Minnesota Opera Annual Fund
30 Donor Spotlight
Minnesota Opera
Chair, Board of Directors | Chip Emery
President & CEO | Kevin Smith
Artistic Director | Dale Johnson
620 North First Street
Minneapolis, MN 55401
612-333-2700 | mnopera.org
Minnesota Opera is a member of OPERA America.
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.
Large-print and Braille programs are available at the Patron Services Offi ce
Arts & Custom Publishing is proud to partner with and offer advertising
within this Minnesota Opera program.
For Advertising Opportunities:[email protected] | 952.843.4603
www.artsandcustom.com
Director of Sales & Operations Amy Newton
Advertising Account Executives Alice Reimann Aaron Martin Linnea Manske Wendy Wagner
Creative Manager Susan Schwegman
Graphic Designers Suzanne Sentyrz Klapmeier Danielle Biers
Publisher Arch Crist
October 30, November 2, 4, 6 and 7, 2010
Rossini
In an unbeatable location close to the Lakes and Downtown, this handsome six bedroom, four bathroom brick family home is rich in historic detail. Enjoy evenings on one of the best porches in Lowry Hill. $1,195,000.
Set on a tranquil double lot, this home has fi ve bedrooms, four bathrooms, Lake views, lovely classic elements, plus updates for modern family life. All of this, just steps away from Lake Calhoun. $1,195,000.
| M
INN
ES
OTA
OPER
A m
nopera
.org
6
President & CEO | Kevin Smith
Artistic Director | Dale Johnson
ARTISTICArtistic Administrator | Roxanne Stouff er Cruz
Artist Relations and Planning Director
Floyd Anderson
Dramaturg | David Sander
Artistic Associate | Bill Murray
Head of Music | Mary Dibbern
Resident Artists
Brad Benoit, Octavio Cardenas,
Cassandra Flowers, Jonathan Kimple,
Eric McEnaney, Angela Mortellaro,
Rodolfo Nieto, Michael Nyby, Jeremy Reger,
Clinton Smith, Victoria Vargas
Master Coach | Mary Jo Gothmann
EDUCATIONCommunity Education Director | Jamie Andrews
Teaching Artist | Angie Keeton
Project Opera Music Director | Dale Kruse
Project Opera Accompanist | Kathy Kraulik
Interns | Ana Ashby, Daniel Weinstein
PRODUCTIONProduction Director | Kevin Ramach
Production Stage Manager | Alexander Farino
Assistant Stage Managers
Shayna j. Houp, Cassandra Flowers
Production Administrative Assistant
Katherine Cattrysse
COSTUMESCostume 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 Jenson
Costume Technicians:
First Hands
Helen Ammann, Kelsey Glasener, Liliya Lychrovska
Stitchers | Rebecca Ballas, Allison Trombley
Wig/Makeup Supervisors
Sarah Bourne, Priscilla Magalee,
Andrea Moriarity-Dahlberg, Molly Weinreb
Crafts Artisan | Lesley Witt
SCENERYTechnical Director | Mike McQuiston
Properties Master | Stanley D. Hawthorne
Properties Assistant | Michael C. Long
Lighting Coordinator | Bill Healey
Assistant Lighting Coordinator | Tom Rost
Production Carpenter | JC Amel
Scene Shop Foreman | Rod Aird
Master Carpenters | Steven Rovie, Eric Veldey
Carpenter | Nate Kulenkamp
Charge Painter | Jeff ery Murphey
ADMINISTRATIONFinance Director | Jeff Couture
Operations/Systems Manager | Steve Mittelholtz
HR/Accounting Manager | Jennifer Thill
Executive Assistant | Theresa Murray
Finance Assistant | Michelle Gould
Database Administrator/Webmaster | Jessica Doklovic
INSTITUTIONAL ADVANCEMENTVice President of Advancement | Patrick Dewane
Advancement Manager | Kelly Kuczkowski
DEVELOPMENTDirector of the Annual Fund | Dawn Loven
Institutional Gifts Manager | Beth Comeaux
Donor Events and Gala Manager | Emily Skoblik
MARKETING/COMMUNICATIONSMarketing & Communications Director | Lani Willis
Marketing Manager | Katherine Castille
Communications Manager | Daniel R. Zillmann
Ticket Offi ce Manager | Julie Behr
Assistant Ticket Offi ce Manager | Kevin Beckey
Ticket Offi ce Associate | Kristen Bond
Ticket Offi ce Assistants
Nicole Hanson, Jane Samsal, Katherine Skovira
minnesota opera staff
Gerald Benson
Debra Brooks
Judith Duncan
Jane Fuller
Joan Gacki
Merle Hanson
Jeanie Johnston
Robin Keck
Eleanore Kolar
David Lightstone
Jenny Lightstone
Jerry Lillquist
Joyce Lillquist
Mary McDiarmid
Verne Melberg
Barbara Moore
Douglas Myra
Candyce Osterkamp
Dan Panshin
Pat Panshin
Sydney Phillips
John Sauer
Wendi Sott
Karen St. John
Mary Weitz
Therese Wietzel
Barbara Willis
Oliver Woodcock
minnesota opera volunteers
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 call
612-342-9592 or email [email protected]
| C
IND
ER
ELL
A
7
BOARD OF DIRECTORS
OFFICERS
Chip Emery, Chair
Kevin Smith, President & CEO
Rachelle D. Chase, Vice Chair
Stephanie Prem, Secretary
Heinz F. Hutter, Treasurer
DIRECTORS
EMERITI
Karen Bachman
John A. Blanchard, III
Burton Cohen
Julia W. Dayton
Mary W. Vaughan
HONORARY DIRECTORS
Dominick Argento
Philip Brunelle
Dolly Fiterman
Charles C. Fullmer
Norton M. Hintz
Liz Kochiras
Patricia H. Sheppard
LEGAL COUNSEL
James A. Rubenstein, Moss & Barnett
Martha Goldberg Aronson
Wendy Bennett
Shari Boehnen
Susan S. Boren
Kathleen Callahan
Rachelle D. Chase
Jodi Dehli
Chip Emery
Bianca Fine
Thomas J. Foley
Steve Fox
Denver Gilliand
Heinz F. Hutter
Philip Isaacson
James Johnson
Patricia Johnson
Christine Larsen
Mary A. Lazarus
Robert Lee
Lynne E. Looney
Leni Moore
Diana E. Murphy
Luis Pagan-Carlo
Jose Peris
Bradford Pleimann
Mary Ingebrand-Pohlad
Stephanie J. Prem
Elizabeth Redleaf
Connie Remele
Sergio Rial
Mark Schwarzmann
Peter Sipkins
Barry Snyder
Simon Stevens
Virginia Stringer
Sharon Winslow
Margaret Wurtele
As a movement-based artist in the opera
world, I begin my process of directing
new projects in much the same way:
discovering a movement vocabulary or style that
defi nes the world we are exploring, and most
particularly, examining the score that shapes the
drama we are hearing.
In this regard, staging an opera is very similar to
choreographing a dance. If it is done very well,
movement ideas are wedded beautifully to the score and can be used to
tell the story in much the same way a libretto does. Great choreography
does this, through structure, form and energy. How bodies are arranged
on stage and then ultimately moved through space can dramatically shift
the emotional balance of a scene. When I choreograph, I always strive for
a true visualization of the score. By following my instinctive responses to
the music, I allow myself to create a movement scenario that imaginatively
brings this aural world to life. If I’ve done my job well, all of the action
should reveal the score in a more luminous way.
Coming from the contemporary dance world, I have always utilized
movement that embraces how we naturally move in our daily lives – the
gestures with which we talk, running to catch a bus or simply walking
down the street. Heightened and then placed in tandem with a score
like Rossini’s Cinderella, movement has the power to transform a static
moment into something magical. Everything is musical, from the smallest
handhold to the largest jump.
For this production of Cinderella, I have been smitten with a glorious
sense of fairy tale. I’ve been in touch with my inner child in directing
this terrifi c cast and in doing so, have remembered what it was like to be
an innocent in the world, when the most important aspect of life was
about imagination and wonder. Hopefully we’ve created an evening that
surprises and delights and takes your memories back in time to
less-complicated days.
Doug Varone, Cinderella stage director and choreographer
director’s notes
Minnesota Opera is proud to be a member of Th e Arts Partnership with Th e Saint Paul Chamber Orchestra, Th e Schubert Club and Ordway.
OCT 30, NOV 2, 4, 6 (7:30PM); NOV 7 (2PM) Minnesota OperaCinderella by Gioachino Rossini
NOV 9 (8PM) The Schubert Club Alison Balsom, trumpet; Richard Bishop, piano
NOV 12 (8PM); NOV 13 (8PM)The Saint Paul Chamber OrchestraSchubert’s Tragic Symphony
NOV 19 (7:30PM)Target World Music and Dance SeriesCONTRA-TIEMPO
NOV 20 (7:30PM)Target World Music and Dance SeriesTiempo Libre
DEC 7-JAN 2 Times VaryOrdway Theater SeasonJoseph and the AmazingTechnicolor®Dreamcoat
JAN 7 (8PM); JAN 8 (8PM)The Saint Paul Chamber OrchestraEdo de Waart Conducts Mahler
JAN 11 (8PM) The Schubert Club Yuja Wang, piano
JAN 14 (10:30AM, 8PM); JAN 15 (8PM)The Saint Paul Chamber OrchestraMozart, Strauss, and Adams
JAN 21 (7:30PM)Target World Music and Dance SeriesAngélique Kidjo
JAN 29 (7:30PM); FEB 1, 3 (7:30PM); FEB 5 (8PM); FEB 6 (2PM) Minnesota OperaMary Stuart by Gaetano Donizetti
FEB 11 (8PM); FEB 12 (8PM)The Saint Paul Chamber OrchestraMahler’s 4th Symphony
FEB 13 (7:30PM)Target World Music and DanceTerrance Simien & the Zydeco Experience
FEB 17 (7:30PM); FEB 18 (8PM); FEB 19 (8PM)The Saint Paul Chamber OrchestraUpshaw sings Frank and de Falla
FEB 19 (9:30AM, 11AM)The Saint Paul Chamber OrchestraSPCO Family Concert
FEB 25 (10:30AM, 8PM); FEB 26 (8PM)The Saint Paul Chamber OrchestraGerman Baroque
MAR 5 (7:30PM); MAR 6 (2PM); MAR 8-12 (7:30PM); MAR 13 (2PM) Minnesota OperaLa traviata by Giacomo Puccini
MAR 15 (8PM) The Schubert Club Leila Josefowicz, violin Tamara Stefanovich, piano
MAR 17 (7:30PM); MAR 18 (10:30AM, 8PM); MAR 19 (8PM)The Saint Paul Chamber OrchestraMendelssohn’s Scottish Symphony
MAR 29-APR 3 Times VaryOrdway Theater Season STOMP
ordway.org
Target World Music and Dance Series
is generously sponsored by| M
INN
ES
OTA
OPER
A m
nopera
.org
8
Music by Gioachino RossiniLibretto by Jacopo FerrettiBased on Charles Perrault’s tale Cendrillon (1697),
Charles-Guillaume Étienne’s libretto Cendrillon (1810)
and Francesco Fiorini’s libretto Agatina (1814)
World premiere at the Teatro Valle, January 25, 1817
October 30, November 2, 4, 6 and 7, 2010
Ordway
Sung in Italian with English translations
Conductor | Christopher Franklin
Stage Director and Choreographer | Doug Varone
Set Designer | Erhard Rom
Costume Designer | James Schuette
Lighting Designer | Jane Cox
Wig and Makeup Designers | Jason Allen and Ronell Oliveri
Assistant Director | Octavio Cardenas
Assistant Conductor | Clinton Smith
Assistant Choreographer | Heidi Spesard-Noble
Stage Manager | Alexander Farino
the castAngelina (La Cenerentola),
Don Magnifi co’s stepdaughter | Roxana Constantinescu
Don Ramiro, Prince of Salerno | John Tessier
Dandini, his valet | Andrew Wilkowske
Don Magnifi co, Baron of Monte Fiascone | Donato DiStefano
Clorinda, his daughter | Angela Mortellaro
Tisbe, his daughter | Victoria Vargas
Alidoro, tutor to Don Ramiro | Daniel Mobbs
courtiers
10
| M
INN
ES
OTA
OPER
A m
nopera
.org
By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, Sole Agent in the United States, Canada and Mexico for Casa Ricordi/Universal Music Publishing Ricordi S.R.L., publisher and copyright owner.
Scenery originally created for Kentucky Opera.
Th e appearances of Angela Mortellaro and Andrew Wilkowske, regional fi nalists of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis.
Th e appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.
Performances of Cinderella are being recorded for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities.
Th e Minnesota Opera season is sponsored by Th e Private Client Reserve at U.S. Bank.
Th e appearances of the 2010–2011 season conductors are underwritten by SpencerStuart.
Camerata dinners are sponsored by Lowry Hill.
Opera Insights is sponsored by Comcast.
Champagne intermission receptions are sponsored by Piper Jaff ray.
Cinderella is presented by
| C
IND
ER
ELL
A
11
synopsis
act iIn a hall of Don Magnifi co’s castle, his vain and demanding daughters Clorinda and Tisbe are busy primping. Th eir stepsister, Angelina (known as Cenerentola), consoles herself with a song about a king who chose a kind-hearted bride rather than a rich one. A beggar (actually Prince Ramiro’s tutor Alidoro) comes in, and Angelina gives him some coff ee and bread, angering the stepsisters. Th e prince’s courtiers enter, announcing the imminent arrival of the prince himself – that evening at a palace ball, he will choose the most beautiful woman among the guests as his wife. Th e ensuing excitement generates great confusion. Th e knights leave and so does the “beggar,” foretelling that Angelina will be happy the next day.
Quarreling for the privilege of telling their father the good news, Clorinda and Tisbe accidentally awaken him. Don Magnifi co interprets a dream he was just having as a prediction of his fortune: the impoverished baron’s vision of himself as grandfather of kings is apparently confi rmed by his daughters’ announcement.
Prince Ramiro, having decided to explore the situation incognito, has exchanged clothing with his servant, Dandini. Alidoro has advised him that kindness, truth and virtue can be found in this home. When the disguised prince enters the house, he and Angelina instantly fall in love. Dandini arrives, awkwardly playing the prince, and Clorinda and Tisbe are
introduced to him. Angelina begs her stepfather to take her to the ball, but Magnifi co orders her to stay at home. Alidoro, with a list of the unmarried women in the city, asks Don Magnifi co about a third daughter, but Magnifi co quickly covers his tracks, stating that she is dead. Aft er everyone has left , Alidoro returns and invites Angelina to the ball, alluding to a change in her fortunes. He supplies an elegant dress and jewelry so that she may be appropriately attired.
At the palace Dandini, still disguised as the prince, appoints Magnifi co his wine steward if he can successfully taste all the wines in the cellar and still remain standing. Magnifi co rises to the challenge and proclaims new drinking laws: wine shall no longer be mixed with water. Clorinda and Tisbe each vie for the prince’s attention – Clorinda is the eldest, therefore, more suitable for marriage, but Tisbe counters that she, as the younger one, shall not age as quickly. Ramiro confers with Dandini – Alidoro said that a daughter of Magnifi co would be the one, yet both girls are equally repellent. Dandini further tests them – he shall select one sister to be his queen, the other shall marry his valet (that is, Ramiro). Both Clorinda and Tisbe are disgusted by the mere suggestion of marrying beneath their station, should they not win the prince, and rebuke the off er. All are enchanted by the sudden arrival of a mysterious lady. Th ey are struck by her uncanny resemblance to someone very familiar.
• intermission •
act iiFrom a discreet distance the courtiers laugh at the sisters’ distress. Magnifi co imagines himself in the privileged position as the prince’s father-in-law, making money in exchange for granting favors. Angelina enters, with Dandini in an amorous pursuit. Hiding nearby Ramiro overhears her refusal of the poseur’s attentions because she loves his valet. Overjoyed, Ramiro asks her to be his bride, but departing, she gives him one of her bracelets, stating that if he can fi nd her wearing its twin, she will marry him. Ramiro reassumes his princely role, and gathering his courtiers, determines to look for Angelina at once. Dandini encourages Magnifi co’s fantasies, and then reveals his real identity, much to the baron’s ire. He blusters out of the room.
Returning home, the sisters fi nd Angelina by the fi re and berate her incessantly for looking like the beautiful lady at the ball. Alidoro arranges an accident for the prince’s carriage, which overturns in front of the house during rather serendipitously inclement weather. Angelina and Ramiro recognize one another, and he matches the bracelet to its mate, proclaiming her as his bride. Angelina goes to embrace her awestruck family, but is rejected. Angered, Ramiro whisks Angelina away, while Alidoro suggests that the sisters ask for forgiveness so as to avoid ruin. Tisbe is the fi rst to accept the situation.
At the wedding banquet, Angelina intercedes with the prince for Magnifi co and her stepsisters, off ering as her revenge their pardon. She revels in her newly found happiness.
| M
INN
ES
OTA
OPER
A m
nopera
.org
12
Gioachino Rossini composed La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness
Triumphant) during an especially busy period that followed the premiere of Il barbiere di Siviglia in February 1816. He was still under contract at the Neapolitan Royal Th eaters and had to return for the production of two further works, La gazzetta (September 26, 1816) and Otello (December 4, 1816). Th e Naples theater impresario, Domenico Barbaja, had the good sense to give
Rossini some latitude in their agreement as the composer had (unwisely) made another commitment in Rome, this time to the rival Teatro Valle’s impresario, Pietro Cartoni, to start the Carnival season on December 26. As Otello had just opened earlier that month, Rossini was in a tight spot, since no libretto had been written, nor had a subject even been chosen.
At fi rst he and librettist Jacopo Ferretti turned to Ninette à la cour, a French comedy inspired by the licentious behavior of infamous womanizer François i (who also would become the model for Giuseppe Verdi’s Duke of Mantua). And much like Rigoletto would later do, Ninette
became a touchy issue with the especially prickly Roman censors. As the deadline was quickly approaching, Cartoni, Rossini and Ferretti sat up late one night brainstorming over hot toddies. Aft er 20 various suggestions, Ferretti proposed Cenerentola, which seemed to pique Rossini’s interest. Th e librettist traded his cocktail for some black coff ee and worked up a scenario that very night.
Of course, all parties knew of a Cenerentola that had premiered in Milan just two and a half years before – Rossini had two operas produced at the Teatro alla Scala during the same season and happened to be there in April 1814 when the work had its premiere.
Th e opera in question was Agatina, ovvero la virtù premiata by Stefano Pavesi, itself a copy of Nicolò Isouard’s Cendrillon, which had recently opened in Paris. All of this was commonplace, as copyright had yet to become a real legal issue – one only had to live with verbal charges of plagiarism and general discontent among the parties involved. Th e enterprising Rossini would raid and eclipse Pavesi a total of fi ve times during his career, in each instance producing a vastly superior work.
Time was of the essence. Cartoni managed to postpone the opening to the end of January, but the production was still a formidable undertaking, with both composition and rehearsals to
take place in just one month. Ferretti may have had an extant libretto from which to pillage, but Rossini also had a few shortcuts at his disposal. Another composer, Luca Agolini, was brought in to compose the recitatives and to contribute two arias, Clorinda’s “Sventurata! mi credea” and Alidoro’s “Vasto teatro è il mondo” (revised by Rossini in 1821 to become “Là del ciel nell’arcano profondo”), and the chorus “Ah! della bella incognita.” Rossini also ravaged his other operas for material – from the failed La gazzetta (which likely wouldn’t be seen again) he borrowed the overture, and from Barbiere he assimilated the notoriously diffi cult (and oft en cut) Almaviva cabaletta from the end of Act ii, “Ah, il più lieto,” which he had composed for the celebrated tenor Manuel García. Transposed and embellished further, the aria became the title character’s brilliant rondò fi nale “Non più mesta.”
Th e cast was quite tense on opening night – rehearsals had been fast and furious – and much like Il barbiere di Siviglia, La Cenerentola was greeted with hostility. Th e composer was hardly concerned, predicting that within a year, the new opera would be popular around the world. He wasn’t far off the mark, and in posterity La Cenerentola would become his second most popular opera aft er Barbiere, surpassing Guillaume Tell’s huge following in 19th-century France. Perhaps still smarting from the initial failure of these two comic works, Rossini’s interest in opera buff a began to wane – Adina (1818) is a mere one-act farce and Le Comte Ory (1829) is modeled aft er the French style. Even in Cenerentola we already begin to see seeds of change toward something a little more somber – the sentimental and serious young lovers in pursuit of one another, the doleful timbre of Angelina’s recurrent canzone by the fi re, “Una volta c’era un re,” and the stoically wise and vaguely magical maneuverings of the sage fi losofo Alidoro. All reach beyond the transparent playfulness of buff a style.
background notes by David Sander
courtesy of Kentucky Opera
| C
IND
ER
ELL
A
13
background notes
literary antecedentsBut where is the classic tale by Charles Perrault? What happened to the glass slipper, fairy godmother, pumpkin carriage and helpful rodents? As it turns out, by the fi rst decade of the 19th century Perrault’s story had already undergone signifi cant revision. Infl uenced by the Enlightenment, Pavesi and Isouard’s operas replaced the ethereal godmother with Alidor/Alidoro, the Prospero-like philosopher who guides the two lovers’ union and transformation by way of prudent advice. It’s true the magic elements exist only by the slightest implication in La Cenerentola, something that already had started to fade in Isouard and Pavesi’s works – their only supernatural eff ect is a subtle red rose that renders Cendrillon/Agatina unrecognizable. By dispensing with that component completely, Ferretti and Rossini introduce the possibility that Angelina could be recognized by her family at the prince’s ball, adding a touch of veracity, tension, and later, abuse.
Th ough Angelina’s insistent song about a bygone king who fi nds his modest bride suggests a “tale-within-a-tale,” La Cenerentola becomes something more substantial, a comedy of manners with some real gravity – a commedia sentimentale rather than a simple conte de fées. Still, some humorous traditions had to be preserved. Hardly evil (though at times not very pleasant) Don Magnifi co is a benign replacement as the bumbling and oft -drunken stepparent, coming straight out of the Italian commedia dell’arte. His control and squander of money (and Angelina’s fortune) draws an interesting parallel to Dr. Bartolo in Barbiere, though his task is much easier. He is able to snatch Cenerentola’s dowry by way of their sketchy familial relationship, rather than the more time-consuming (and in Bartolo’s case, fruitless) task of courtship. Dandini shares his more devious traits with the stock player Brighella, and his masquerade as well as the doubly disguised Angelina and Ramiro at the prince’s ball are further commedia tricks. Patter song, a requisite of the
opera buff a genre, is obliged by not one, but two arias given to Don Magnifi co as well as a marvelous duet, where he faces off with his buff o adversary, Dandini. In spite of the rapid fi re of Magnifi co’s notes, the even dramatic pacing is another aspect of the work as being both real and human – there is no fretful stroke of midnight to bring the party to a sudden end. Angelina demands the prince play according to her terms – she coquettishly initiates the contest of the search to determine if his love is genuine.
Finally, there is the absence of the glass slipper, which some say might not have been glass at all. According to those sources, the French word for glass, verre, was mistranslated from its near-homonym, vair, or “squirrel fur.” Th is theory has since been debunked by the latter’s utter lack of elegance (remember Perrault’s story was originally set during the era of Louis xiv), not to mention the fur’s elasticity, which could more easily adapt to a variety of foot sizes. Th e infl exible, more petite glass slipper reinforces a stereotype of the feminine ideal – the smaller the foot, the more beautiful (and in some cultures, the
more submissive) the woman. Th e reason they decided to omit it? Roman decency forbade the exposure of a woman’s bare ankle in the drama’s penultimate scene. Ferretti and Rossini had to settle for two matching bracelets.
Isouard, Pavesi and Rossini’s operas turn the story away from fantasy and emphasize its virtue – virtù, which is, in fact, spotlighted in the title of the second work and bontà (goodness) in the third. By the mid-century, Samuel Richardson’s Pamela, or Virtue Rewarded (1740) had become enormously popular throughout Europe and was tremendously infl uential on all the various art disciplines. Pamela is a servant in the house of b—, and it becomes quite clear early in the novel she is a person of exceptional character. Unfortunately, she attracts the attention of her mistress’ son, who retains Pamela’s services aft er his mother’s death. Mr. b—’s inappropriate behavior creates discord in the household and puts the title character’s reputation to the test. Aft er a series of awkward episodes, Pamela earns her master’s respect by way of her letters (which he secretly reads) and her steadfast ➤
“Pamela asks Sir Jacob Swinford’s blessing”
from Illustrations to Samuel Richardson’s Pamela, no. 11
Joseph Highmore (1692–1780)
Tate Gallery (London, Great Britain)
photo credit: Tate, London/Art Resource, NY
| M
INN
ES
OTA
OPER
A m
nopera
.org
14
background notes
unwillingness to submit to his amorous advances. b— acquires a greater respect for his maid, and crossing all social barriers, the couple eventually marries. As the foundations of the modern novel began to congeal, Richardson’s fi ction ignited a great literary controversy, with “Pamelists” and “Antipamelists” in heated debate. As a retort, John Fielding wrote two parodies, Shamela (1741) which detailed the debauched activities of its title character, and Joseph Andrews (1742), spinning Pamela’s trials
and surname into a male sibling version of her moral integrity trapped within a burlesque and chaotic world. In part to settle this dispute, Richardson wrote a more tragic sequel, Clarissa (1748), which involves the detention, rape and death of its honorable heroine.
Among Pamela’s many stage and operatic adaptations is a libretto by buff a master (the “Italian Molière”) Carlo Goldoni, set to music by Niccolò Piccinni in 1760. First appearing as a play entitled Pamela, ossia la virtù premiata (an appellation later borrowed in part by Pavesi, who would become Piccinni’s student), the opera La buona
fi gliuola tells a similar story of a low-bred, orphaned girl, Cecchina. Her employer’s brother, the Marchese della Conchiglia, is fi xated on the young maid, in spite of his sister’s misgivings. For her part, the marchesa cannot marry her boyfriend, the Cavaliere Armidoro, if her brother marries outside his class. Th ough Pamela (and Cenerentola) marry above their station, things turn out in a tidy fashion for Cecchina – she is identifi ed as a long-lost descendant of a German baron (by a birthmark on her arm, yet another commedia dell’arte trick), and everyone lives happily ever aft er. Piccinni’s opera was immensely successful and was mounted all over Europe, becoming the most popular opera buff a of the century. La Cenerentola is thought to be a deliberate homage to the earlier work’s original title, La Cecchina.
To complete the circle, a similar tale, Griselda, was treated by both Giovanni Boccaccio and Perrault, and set as an opera by Piccinni in 1793. Th is story also involves the cruel testing of a young maiden, this time the patience and dedication of a shepherdess, by her princely husband. Th e original tale was adapted by Apostolo Zeno into a libretto, which was set by a number of composers, including Antonio Vivaldi (1735), in a version revised by a young Goldoni. It precedes Richardson’s novel and is believed to have provided some inspiration for the enlightened, reasonable, virginal and virtuous woman that so captivated the 18th-century imagination.
cinderella through the agesIt appears every culture and nearly every continent has its own Cinderella story, sources as diverse as tales from the Chinese T’sang dynasty, Native American legend, Zimbabwe folklore and Russian superstition. Each is identifi able by the following criteria: a family member in a miserable state, the intervention of a helper (usually supernatural), a glimpse at a better life, recognition by some object and improvement of the condition (usually a perfect union, such as marriage). Th e earliest Italian version of Cinderella
appears to be Giambattista Basile’s Pentamerone (1634–1636), which predates Perrault’s story and is strikingly similar – the French author may have had this collection in his mind when he craft ed his Cendrillon. A touch more graphic, Basile’s La gatta Cenerentola incorporated a murder into his tale – Zezolla/Cenerentola is encouraged by her loving governess to break her evil stepmother’s neck with the lid of a chest aft er drawing her into a trap. Th e rest of the story follows the expected pattern. With Zezolla’s assistance the governess becomes the new stepmother and brings to the household her previously undisclosed six daughters, who all mistreat their new stepsister. Th e conduit of magic is a fi g tree her father brings back from Sardinia. By housing the Dove of the Fairies, the tree produces the necessary transport and clothing for a series of royal feasts. Aft er meeting the king for a third time, Zezolla loses her slipper, and when the king summons all the women of the realm before him, the shoe magically fi nds its owner.
Charles Perrault came along later in the century, publishing his Les histoires ou Contes du temps passé in 1697. It is generally assumed that these are drawn from popular tradition, though Cendrillon and the other contes in the collection can be traced to earlier works by Basile and Boccaccio and to the Volsunga Saga and classical mythology. Every story ends with a moralité, a moral message. Cendrillon has two: (1) always value graciousness over beauty (2) there is advantage to good breeding and common sense (and always respect your godparents). In addition to being didactic, the tales served as propaganda for the national language – the vulgar oral tradition of the illiterate was elevated to the more aristocratic written French of the nobility. A curious aspect of Perrault’s tales is that they were not necessarily conceived for children, but as divertissements, aft er dinner amusements for members of Louis xiv’s royal entourage.
Closer to Rossini’s day, folk tales would have a new revival. Brothers
Cinderella. Illustration for the fable by Charles Perrault
Joseph Bail (1862–1921)
Musée des Arts Décoratifs (Paris, France)
photo credit: Scala/White Images/Art Resource, NY
| C
IND
ER
ELL
A
15
background notes
Jakob and Wilhelm Grimm assembled and published their Household and Nursery Tales at the beginning of the 19th century. Again, it seems as though Grimms’ Tales were not necessarily meant for a younger audience – in the brothers’ original edition, nearly every story includes either suggestions of sex and incest or overtly grotesque violence. Th e Grimms were scientifi c rather than fi ctitious in their mission to compile German folklore, a spoken ritual once spun out at the spinning wheel, in the fi elds or around the fi re. At fi rst Wilhelm and Jakob demanded literary fi delity, but perhaps envisioning a greater audience for the Tales, Wilhelm became more prudish in subsequent editions while retaining much of the brutality. For instance, the stepsisters of Aschenputtel (Cinderella) cut off their toes and shave their heels in order to cram their feet into the tiny slipper. Th eir deception is exposed on the way to the palace when the prince notices their feet bleeding. Later, aft er the royal wedding feast has taken place, two doves peck out their eyes, quite literally emphasizing the brothers’ recurrent theme of “an eye for an eye.” In other Grimm fantasies, the protagonist doesn’t always fare so well, but in the end compassion is usually rewarded while villainy is punished with a vengeance. Th e stories were intended to be cautionary and the lessons are typically harsh. It’s hardly a surprise the Tales found their way to the nursery, not as much for entertainment as for preparing 19th-century youngsters for the hard peasant life that awaited them. Th ere is also the added benefi t (if sometimes a vain one) that the diligently persistent moral messages may curb poor behavior – terrible things happen to rotten children.
Th e Grimms’ version of Cinderella replaces the fairy godmother with a magic hazel tree, which houses helpful (and later punitive) turtledoves. Th e ball occurs over a three-day period, and though Aschenputtel gets to dance with the prince each night, she dashes off before he can learn her name. On the third night, he coats the steps with
a sticky substance, hoping to ensnare her as she fl ees. He only gets the slipper, which in this case is gold. Th e sisters’ self-mutilation happens to each in turn as the prince makes his rounds in search of the mystery woman, who turns out to be Aschenputtel.
Although it might be possible to connect the Italians Pavesi and Rossini and the Maltese-born, Italian-trained Isouard to Basile’s Pentamerone (Isouard suggests an Italian setting by using such names as Monte Fiascone and Dandini), Perrault’s Contes are generally assumed to be the antecedent of these staged works. Th e fi rst known operatic treatment was a one-act vaudeville by Jean-Louis Laruette (Paris, 1759). Later, both Jules Massenet (Cendrillon; 1899) and Sergei Prokofi ev (his Zolushka ballet; 1945) went in that direction, as did Pauline García Viardot, daughter of Manuel and sister to Maria Malibran. Both daughters would become great interpreters of Rossini’s La Cenerentola, but when it came time to produce her own work on the same subject (Cendrillon; 1904), Viardot settled for a hybrid of the two traditions since she felt the need to incorporate the fairy godmother and glass slipper into a setting that more closely follows that of Rossini. Th e ballroom scene intrigued waltz king
and Die Fledermaus composer Johann Strauss, who had begun a Cinderella ballet (Aschenbrödel) but died before it was completed.
On the Grimm side, German opera would be most aff ected – a subgenre known as Märchenoper developed in the early 19th century in the works of Carl Maria von Weber and Heinrich Marschner, among others. A parallel also can be drawn to the works of Richard Wagner as many of his subjects relied on the folk tradition, and the composer specifi cally drew from the Grimms’ Märchen von einem, der auszog das Fürchten zu lernen for parts of Siegfr ied. A resurgence of Märchenoper occurred at the turn of the century, most notably in the works of Engelbert Humperdinck. Hänsel und Gretel (1893) is the most famous example; others include Die sieben Geislein (1895) and Königskinder (1910). A general trend into the early 20th century also showed an interest in the fantastic world and a disregard of historical or contemporary subjects previously enjoyed by 19th-century audiences, evidenced by musical settings of Carlo Gozzi’s Turandot [set by both Ferruccio Busoni (1917) and Giacomo Puccini (1926)], and by Le rossignol (Igor Stravinsky; 1914) and Die Frau ohne Schatten (Richard Strauss; 1919), to name a few. ❚
courtesy of Kentucky Opera
| M
INN
ES
OTA
OPER
A m
nopera
.org
16
gioachino rossini
b Pesaro, February 29, 1792; d Passy, November 13, 1868
The most prominent Italian composer of the fi rst half of the 19th century, Gioachino Rossini
transformed the form and content of Italian opera. Th ough best known for his comic works – and for music that is sensuous, brilliant and rhythmically vital – Rossini’s contribution to stage works of mixed genres is equally important, making him Verdi’s most signifi cant forerunner.
Born into the closely knit community of Pesaro, Italy, at a time of war and political upheaval in Europe, Rossini was brought up by parents who were both working musicians. His father, a horn player and teacher at Bologna’s prestigious Accademia Filarmonica, was also an ardent and outspoken Republican who was imprisoned briefl y by the Austrians. Rossini’s mother, despite her lack of musical training, was a reasonably successful soprano. Rossini entered Bologna’s Liceo Musicale at the precocious age of 14 and began composing as early as 1802–03. Shortly aft er fi nishing his studies, he obtained a commission for a one-act farce, La cambiale di matrimonio, for the Venetian Teatro San Moisè. Further commissions from Venice yielded more successes, and by the time La pietra del paragone
had premiered in 1812, the 20-year-old Rossini was without a doubt the leading composer in Italy.
Rossini seemed equally confi dent in both serious and comic veins. Tancredi was a major landmark in opera seria and L’italiana in Algeri was the same for opera buff a – both were composed in 1813. In 1815 he had the good fortune to be secured by Domenico Barbaja, impresario for the Neapolitan theaters, and signifi cantly developed his style and technique over the next seven years. One of the Teatro San Carlo’s assets was Isabella Colbran, a soprano who specialized in opera seria; as a result Rossini wrote many works specifi cally for her voice. She was to become his mistress and later his fi rst wife.
Rossini’s contract with Barbaja allowed him to accept commissions elsewhere on the Italian peninsula. Two of his most popular comic works, Il barbiere di Siviglia and La Cenerentola, premiered in Rome. By 1822, however, the composer showed signs of his patience wearing thin; during the contract period he had written a total of 19 operas. The composer later quipped, “If he had been able to do so, Barbaja would have put me in charge of the kitchen as well.”
Rossini was released from his Neapolitan contract that year. Th e Viennese tour that followed proved enormously successful for the composer, whose works were now familiar all over Europe. Returning to Italy, Rossini signed another contract with La Fenice in Venice for what would become one of his greatest and grandest opera serias, Semiramide.
With Italy and Austria conquered, Rossini turned his attention to France and England. A contract was signed in London, but it appears no opera was ever produced. In Paris Rossini accepted the directorship of the Th éâtre Italien for two years (1824–26) and oversaw the remounting and revisions of a number of his works. For the coronation of Charles x,
he composed a new opera, Il viaggio a Reims, and a year later he refashioned an earlier opera seria, Maometto ii, into Le siège de Corinthe for the Paris Opéra. He would present three more works at that theater: Moise et Pharaon (reworked from the earlier Mosè in Egitto), Le Comte Ory (incorporating music from Il viaggio a Reims) and Guillaume Tell. Cast in the newly evolving form of French grand opéra, Guillaume Tell is a lengthy four-act work complete with ballet. It proved to be exceedingly popular (the opera had over 500 performances during Rossini’s lifetime); it was also the composer’s last. He retired at age 37.
Aft er a short return to Italy, Rossini found himself back in Paris pursuing a lifetime annuity granted by Charles x but revoked by the new government of Louis-Philippe. What was to be a short stay turned into six years of litigation, and while his wife and father remained at Isabella’s estate in Italy, Rossini formed a new romantic attachment with Olympe Pélissier. When his estranged wife died in 1846, they married soon aft er.
Th e Rossinis eventually set up house in an apartment on the Rue de la Chaussée d’Antin and also built a villa in the Paris suburb of Passy. Th eir famous samedi soirs were initiated in 1858 – on Saturday evenings Rossini’s salon became a meeting place for composers, artists and friends. Th e evening would have a prearranged musical program, mostly of Rossini’s own compositions with the composer at the piano and many young singers making their debuts. Th e last occurred September 26, 1868; Rossini’s chronic ill health fi nally overcame him, and he died two months later. Rossini was buried in Paris’ Père Lachaise cemetery among the graves of his fellow composers Cherubini, Chopin and Bellini. In 1887 his remains were brought to the city of Florence – a procession of more than 6,000 mourners attended the re-interment in Santa Croce. ❚
Ritratto di Gioachino Rossini (circa 1815)
Vincenzo Camuccini (1771–1844)
Museo teatrale della Scala (Milan, Italy)
| C
IND
ER
ELL
A
17
the artists For more biographical information about these artists, visit our website at mnopera.org
Roxana ConstantinescuAngelina (mezzo-soprano)
Bucharest, Romania
RecentlyZerlina, Don Giovanni; Rosina, Il barbiere d Siviglia;
Siébel, Faust; Stéphano, Roméo et Juliette; Lola, Cavalleria rusticana; Nicklausse, Les contes d’Hoff mann; Dryade, Ariadne auf Naxos; Fyodor, Boris Godunov, Vienna State Opera
UpcomingDonna Elvira, Don Giovanni, Vienna State Opera
Stéphano, Roméo et Juliette, Dallas OperaDorabella, Così fan tutte; Fatima, Oberon, Toulouse
Christopher FranklinconductorPittsburgh, Pennsylvania
RecentlyDon Giovanni, Teatro Vittorio Emmanuele La vedova allegra, Teatro San Carlo di NapoliSweeney Todd, Teatro Comunale di BolognaUne éducation manquée; La cambiale, Wexford Fest.Attila, Lima (Peru)L’amour conjugale, Rossini Festival (Wildbad) Le Comte Ory, National Opera of Greece
UpcomingIl barbiere di Siviglia, Lima (Peru)
Donato DiStefanoDon Magnifi co (bass)
Sora, Italy
RecentlyBartolo, Il barbiere di Siviglia, Washington OperaSchicchi, Gianni Schicchi, Metropolitan Opera
Pasquale, Don Pasquale, Dallas OperaBasilio, Il barbiere di Siviglia, Frankfurt Opera
UpcomingBartolo, Il barbiere di Siviglia, Leipzig; HamburgSulpice, La fi lle du régiment, San Diego Opera
Mustafa, L’italiana in Algeri, Opéra de NancyMagnifi co, La Cenerentola, Canadian Opera Co.
Jane Coxlighting designerDublin, Ireland
2009 Faust 2007 Lakmé2006 Joseph Merrick dit Elephant ManRecentlyChapters, Doug Varone and Dancers Don Giovanni, New York City OperaCome Back Little Sheba, BroadwayPublic Th eatre; Brooklyn Academy of Music; Playwrights Horizons; nytw, (New York)
UpcomingLucia, Houston Grand Opera; Opera Australia
| M
INN
ES
OTA
OPER
A m
nopera
.org
18
the artists For more biographical information about these artists, visit our website at mnopera.org
Daniel MobbsAlidoro (bass-baritone)
Louisville, Kentucky
2002 Enrico, Lucia di LammermoorRecently
Oroveso, Norma, Caramoor FestivalDandini, La Cenerentola, Wash. Concert Opera
UpcomingCapulet, Capuleti; Geronte, Manon, Philadelphia
Pédro, L’Afr icaine, Opera Orch. of New YorkGiorgio, I puritani, Knoxville Opera
Figaro, Le nozze di Figaro, Portland OperaGuillaume Tell, Guillaume Tell, Caramoor Fest.
Angela MortellaroClorinda (soprano)Milwaukee, Wisconsin
2010 Amore, Orpheus and EurydiceRecentlyGretel, Hansel and Gretel, PORTOpera; Sarasota OperaClorinda, La Cenerentola; Suor Genovieff a, Suor Angelica; Sally, Die Fledermaus, Orlando OperaAnna, Th e Consul; Edith, Pirates of Penzance, Chautauqua Opera
UpcomingAnnina, La traviata, Minnesota Opera
Erhard Romset designer
Seattle, Washington
2008 Rusalka; Roméo et JulietteRecently
Nixon in China, Vancouver OperaLa bohème; Jane Eyre, Opera Th eatre of St. LouisA Midsummer Night’s Dream; Il turco in Italia; Zaïde, Wolf Trap Opera
Les contes d’Hoff mann; Don Giovanni; Susannah, Virginia Opera
Lucia di Lammermoor, Opera ClevelandShadowboxer, Clarice Smith Center
James Schuettecostume designer Manitowoc, Wisconsin
2010 Casanova’s Homecoming2009 Faust2007 Un ballo in maschera2006 Joseph Merrick dit Elephant Man1998 TransatlanticRecentlyJulius Caesar, American Repertory Th eatreOedipus Complex, Goodman Th eatreTh e Diary of Anne Frank, Steppenwolf Th eatreTh e Unmentionables, Steppenwolf; Yale Repertory
Victoria VargasTisbe (mezzo-soprano) Brooklyn, New York
RecentlyMamma Lucia (cover), Cavalleria rusticana, Sarasota Opera; Chautauqua OperaMarcellina, Le nozze di Figaro, Ashlawn OperaEuryclée, Pénélope; Mrs. Peachum; the Beggar, Th e Beggar’s Opera, Manhattan School of Music
UpcomingApprentice Artist – Chautauqua OperaAnna, Mary Stuart; Flora, La traviata; Nelly, Wuthering Heights, Minnesota Opera
John TessierDon Ramiro (tenor)
Edmonton, Alberta (Canada)
2002 Laurie, Little WomenRecently
Almaviva, Il barbiere di Siviglia, Th . de GenèveOttavio, Don Giovanni, Teatro Colón (Argentina)
Narraboth, Salome, Verbier FestivalLaëte, Hamlet, Washington National Opera
Nemorino, L’elisir d’amore, English Nat’l Opera
UpcomingTito, La clemenza di Tito, Vancouver Opera
Tamino, Die Zauberfl öte, Seattle Opera
Doug Varonestage director and choreographer
New York, New York
2009 Faust2007 Th e Grapes of Wrath
2006 Joseph Merrick dit Elephant Man1998 Transatlantic
RecentlyOrpheus and Euridice, Lincoln Center Th eater
Dense Terrain, Brooklyn Academy of MusicSalome; Stravinsky; Les Troyens, Metropolitan Opera
Il barbiere di Siviglia; Orphée et Eurydice, Opera Colorado
Andrew WilkowskeDandini (baritone)Wilmar, Minnesota
2009 Geppetto, Th e Adventures of Pinocchio2008 Taddeo, L’italiana in Algeri2007 Figaro, Le nozze di Figaro2007 Noah, Th e Grapes of WrathRecentlyNoah, Th e Grapes of Wrath, Carnegie HallFigaro, Il barbiere di Siviglia, Skylight Opera
UpcomingOverall, Der Kaiser von Atlantis, Boston Lyricsoloist, Carmina burana, Minnesota Orchestra
Conveniently located in the heart
of the Edina neighborhood, the
Brownstones on France offers a blend
of timeless architecture and classic
elegance with all the luxuries and
conveniences of 21st century living.
These spacious residences showcase
craftsmanship, exclusivity, security,
quality and an unsurpassed attention
to detail. We invite you to begin
creating the home of your dreams.
Blending Classic Elegance with Timeless Luxury.
Brownstones on France
Brownstones on France
5200 France Avenue, Edina
Open Sundays Noon – 3:00 or By Appointment
For a private introduction we can be reached at
952-915-1000 ◆ www.brownstonesonfrance.com
Minnesota District Auditions
November 20, 2010 at 10 a.m.
Ordway, St. Paul
Master Class with Kevin Murphy
November 21, 2010 at 12:30 p.m.
Schubert Club Museum, Landmark Center, St. Paul
All Metropolitan Opera National Council Events are free and open to the public.
For more information visit moncuppermidwest.org
or call Margaret Houlton at 952-939-6908| M
INN
ES
OTA
OPER
A m
nopera
.org
20
the artists
VIOLIN ILaurie Petruconis
concertmaster
Julia Persitz
David Mickens
Judy Thon-Jones
Angela Waterman Hanson
Andrea Een
Natalia Moiseeva
Giselle Hillyer
VIOLIN IIConor O’Brien
Elizabeth Decker
Stephan Orsak
Melinda Marshall
Margaret Humphrey
Helen Foli
VIOLASusan Janda
Vivi Erickson
Laurel Browne
James Bartsch
CELLOJim Jacobson
Sally Dorer
Rebecca Arons
Thomas Austin
BASSJohn Michael Smith
Constance Martin
FLUTEMichele Frisch
Amy Morris
OBOEMichal Rogalski
Michael Dayton
CLARINETJohnny Teyssier
Nina Olsen
BASSOONCoreen Nordling
Laurie Hatcher Merz
HORNBrian Vance
Charles Hodgson
TRUMPETJohn G. Koopmann
Christopher Volpe
TROMBONEPhillip Ostrander
HARPSICHORDJeremy Reger
Ben Crickenberger
John deCausmeaker
Benjamin Henry-Moreland
Joshua Hinck
Benjamin Hills
Timothy James
Ben Johnson
Richard Joseph
Jake LaSota
Eric Mellum
Jason McLaughlin
Riley McNutt
Tim O’Brien
Colyn Tvete
Luke Wallrich
Daniel Weinstein
MINNESOTA OPERA ORCHESTRA
MINNESOTA OPERA CHORUS
Mary Stuart (Jan. 29 – Feb. 6, 2011)A thrilling portrait of two of history’s most commanding women. La traviata (Mar. 5 – 13, 2011)The world-famous classic that inspired Moulin Rouge! Wuthering Heights (Apr. 16 – 23, 2011)A gothic romance by a Hollywood legend.
Service charges and other restrictions may apply.
and enjoy and insider all season. Simply choose two or more of
these operas, and we’ll grandfather you in at the discounted subscription price (up to 20% off!):
MMMMMary Stuart (Jan. 29 – Feb. 6, 2011)tanding women.thrilling portrait of two of history’s most comma
aaaaa traviata (Mar. 5 – 13, 2011)aThThThThThe world-famous classic that inspired uge!Moulin RRou
WWWWWuthering Heights (Apr. 16 – 23, 2011)gothic romance by a Hollywood legend.
ttttttttttttttttricricricricricri tiotiotiotiotioiotiootiotiooioiootionsnsnsnsnsnnsns nsns ns maymaymaymaymaymaymaymaymaymayaymaymaayy apapapapapapapapapappapapapapapapplyplyplyplyplyplyplyplylyplylyplypplylylplylypp .....
and enjoyyddddder more of all season. Simply choose two oor m
on price grandfather you in at the discounted subscripptio
| C
IND
ER
ELL
A
21
Keep up to date with the Opera’s education
programs by following us at imagineopera.org
and on the imagine opera facebook page.
| M
INN
ES
OTA
OPER
A m
nopera
.org
22
education at the opera
Project OperaWinter ConcertJanuary 16, 2011
4:00 p.m.
Augsburg Chapel
2211 Riverside Ave,
Minneapolis 55454
Free and open to the public
Experience the music of Project Opera in their Winter Concert featuring Vivaldi’s Gloria. Both Ragazzi and Giovani ensembles will perform seasonal favorites such as “Night of Silence” and “Climb to the Top of the Highest Mountain.”
Teaching Artist Hits the RoadOur teaching artist is once again traveling across the metro and the state to bring unique opera education programs to thousands of students! Th is month was highlighted by a return to Patrick Henry High School to visit Tim Buzza’s music
class. Th e next week they broadened their exploration of the art form by taking a fi eld trip to the Student Dress Rehearsal of Cinderella on October 28.
In January Angie will be making a very special week-long trip to Alexandria, Minnesota to collaborate on a community concert of Carmen with the Central Lakes Symphony Orchestra. Students, teachers and adult musicians from the area will all join together with artists from Minnesota Opera to perform selections from Bizet’s most popular opera.
Artist residencies like this are part of the
Opera’s coOPERAtion! program that is
generously supported by Medtronic.
Want to bring opera to your school?
Contact Angie at [email protected]!
Project Opera at the Mill City Farmers MarketIt felt like November but in August young singers from Project Opera performed a selection of art songs and arias in collaboration with the Italian Cultural Center at the Mill City Farmers Market.
▲ From North Oaks, Lauren Eberwein
performed “Che farò senza Euridice”
from Orpheus and Eurydice
▲ Kelley Lokensgard from Eagan sang
“O del mio dolce ardor”
7:30 P.M. | DECEMBER 18, 2010CHAPEL OF ST. THOMAS AQUINAS
UNIVERSITY OF ST. THOMAS
ST. PAUL, MINNESOTA
3:00 P.M. | DECEMBER 19, 2010WAYZATA COMMUNITY CHURCH
125 WAYZATA BOULEVARD EAST
WAYZATA, MINNESOTA
DR. CHRISTOPHER ASPAAS
Music Director
A MINNESOTA CHRISTMASChristmas Concerts
Transforming Audiences Through Artistry and Spirit
Join us!
FOR TICKETS: Call (612) 924-4111 or visit magnumchorum.org
AS WE CELEBR ATE OUR20TH ANNIVERSARY SEASON!
| C
IND
ER
ELL
A
23
education at the opera
Adult Education Class:Mary StuartMonday, January 10, 2011
7:00–9:00 p.m.
Minnesota Opera Center
620 North First Street
Donizetti’s opera Mary Stuart, based upon Schiller’s play of the same name, proved to be so controversial that it was banned twice in Italy aft er censors learned that Mary calls Elizabeth i a “vile bastard” in their scene of confrontation. One begins to sense why, in true life, Queen Elizabeth i refused to meet Mary Stuart, whom she nevertheless condemned to death. Minnesota Opera’s Head of Music Mary Dibbern will discuss the historical background of the confl ict between two of history’s most commanding women, and the transformation of Schiller’s play into a superb operatic treasure.
Call 612-333-6669 for tickets.
Brenda Harris Master ClassMonday, January 31, 2011
7:00–9:00 p.m.
Minnesota Opera Center
620 North First Street
Witness the incomparable soprano Brenda Harris pass the legacy of her vast experience and exceptional artistry to the emerging artists of Minnesota Opera’s Resident Artist Program in an intimate master class setting. Ms. Harris will provide insights for singers and audiences alike into the connection between the voice and text, as well as style and technique. A not-to-be-missed opportunity!
Call 612-333-6669 for tickets.
Tempo is a membership programfor both opera newbies and buff s ages 21–39.
$40 membership includes these benefi ts:
• Steep ticket discounts (up to 76%!)
• Invitations to cast parties and special events
• Access to exclusive Tempo Lounge at intermission
• Preview events
• Young Friends of Opera discounts to other companies
• Big discounts on select Minnesota Opera events
and education classes
Ph
oto
by
Ste
ve M
cHu
gh
mnopera.org/tempo 612-333-6669
Offi cial home of Tempo Cast Parties for the 2010–2011 season
TICKETS FOR $30!
| M
INN
ES
OTA
OPER
A m
nopera
.org
24
Opera Bootcamp: Basic TrainingThursday, December 9, 2010 at Minnesota Opera Center
New to Opera? Need to review the basics? Learn the ins and outs of opera and prepare to battle with the Masters during the rest of the 2010–11 season. Enlist at mnopera.org/tempo today.
©2009 Target Stores. The Bullseye Design, Target and the 5% Bullseye Design are registered trademarks of Target Brands, Inc. All rights reserved. 986437
®Target.com/community
We can’t think of a better investment than
our own communities. And we couldn’t do it
without you. By shopping at Target, you help
us give 5% of our income — over $3 million
every week—to support education, the arts,
social services and volunteerism. Who knew
shopping could do so much good?
612-333-6669
| M
INN
ES
OTA
OPER
A m
nopera
.org
26
it’s alive
STREAM ONLINE AT MPR.ORG
It starts softly, but soon there are bursts of color
and texture. New discoveries and vivid surprises
fill the air. It’s classical music. It’s alive.MINNESOTA PUBLIC RADIO |
CIN
DER
ELL
A
27
| M
INN
ES
OTA
OPER
A m
nopera
.org
28
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 circlePlatinum $20,000 and aboveAnonymous (1)
Karen Bachman
Mary and Gus Blanchard
Jane M. and Ogden W. Confer
Julia W. Dayton
Sara and Jock Donaldson
Vicki and Chip Emery
Ruth and John Huss
Sisi and Heinz Hutter
Mr. and Mrs. Philip Isaacson
James E. Johnson
Lucy Rosenberry Jones
Th e Art and Martha Kaemmer
Fund of HRK Foundation
Nadine and Bill McGuire
Dwight D. Opperman
Ronning Family Foundation
Elizabeth Redleaf
Mary W. Vaughan Fund
of Th e Minneapolis
Foundation
C. Angus and Margaret Wurtele
Gold $15,000–$19,999Ellie and Tom Crosby, Jr.
Cy and Paula Decosse Fund of
Th e Minneapolis Foundation
Barbara McBurney
Stephanie Simon and
Craig Bentdahl
Silver $10,000–$14,999Anonymous
William Biermaier and David Hanson
Susan Boren
Dr. and Mrs. Daniel D. Buss
Dolly J. Fiterman
Sharon and Bill Hawkins
Mary and Barry Lazarus
Jenny Lind Nilsson and
Garrison Keillor
Harvey T. McLain
Mrs. Walter Meyers
Diana and Joe Murphy
Mary Ingebrand Pohlad
Joseph Sammartino
Bernt von Ohlen and Th omas Nichol
camerata circlePlatinum $7,500–$9,999Allegro Fund of
Th e Saint Paul Foundation
Shari and David Boehnen
Kathleen and William Callahan
Nicky B. Carpenter
Rachelle Dockman Chase
N. Bud and Beverly Grossman
Foundation
Erwin and Miriam Kelen
Peter J. King
Moore Family Fund for the Arts
Albin and Susan Nelson
Connie and Lew Remele
Maggie Th urer and Simon Stevens
Carolyn, Sharon and Clark Winslow
Gold $5,000–$7,499Anonymous
Tracy and Eric Aanenson
Martha Goldberg Aronson and
Daniel Aronson
Martha and Bruce Atwater Fund of
Th e Minneapolis Foundation
Nancy and Chuck Berg
Darlene J. and Richard P. Carroll
James and Gisela Corbett
David and Vanessa Dayton
Mary Lee Dayton
Connie Fladeland and Steve Fox
Tom and Lori Foley
Patricia R. Freeburg
Mr. and Mrs. William Frels
Denver and Nicole Gilliand
Alfred and Ingrid Lenz Harrison
Bill and Hella Mears Hueg
Tina and Ken Hughes
Patricia Johnson and Kai Bjerkness
Debra and James Lakin
Chris Larsen and Scott Peterson
Robert L. Lee and Mary E. Schaff ner
Ilo and Peggy Leppik
Lynne Looney
Mr. and Mrs. Donald Lucker
Th e Kendrick B. Melrose
Family Foundation
Bill and Barbara Pearce
Jose Peris and Diana Gulden
Stephanie Prem and Tom Owens
Shawn and Brad Pleimann
Sergio Rial
Lois and John Rogers
Chris and Mark Schwarzmann
Drs. Joseph and Kristina Shaff er
Peter and Bonnie Sipkins
Susan and Barry Snyder
Kevin and Lynn Smith
Karen Sternal
Virginia L. and Edward C. Stringer
Mr. and Mrs. James Swartz
Lori and Herbert Ward
Silver $2,500–$4,999Anonymous (5)
Kim A. Anderson
Annette Atkins and Tom Joyce
Alexandra O. Bjorklund
Dr. Lee Borah, Jr.
Margee and Will Bracken
Christopher J. Burns
Elwood and Florence Caldwell
Rusty and Burt Cohen
Susan and Richard Crockett
Jeff and Wendy Wenger Dankey
Jodi Dehli
Th omas and Mary Lou Detwiler
Mona and Patrick Dewane
Ralph D. Ebbott
Sally J. Economon
Nancy and Rolf Engh
Bradley Fuller and
Elizabeth Lincoln
Christine and Jon Galloway
Lois and Larry Gibson
Meg and Wayne Gisslen
Mrs. Myrtle Grette
Dorothy Horns and
James Richardson
Dr. and Mrs. Arthur Horowitz
Margaret and Andrew Houlton
Cynthia and Jay Ihlenfeld
James Jelinek and Marilyn Wall
Dale A. Johnson
Jacqueline Nolte Jones
Robert and Susan Josselson
Stan and Jeanne Kagin
Warren and Patricia Kelly
Lyndel and Blaine King
Robert Kriel and Linda Krach
Helen L. Kuehn
Benjamin Y. H. and Helen C. Liu
Leland T. Lynch and Terry Saario
Fund of Th e Minneapolis
Foundation
David MacMillan and Judy Krow
Mary Bigelow McMillan
Nancy and Richard Nicholson
Ruth and Ahmad Orandi
Marge and Dwight Peterson
Mr. and Mrs. William Phillips
Redleaf Family Foundation
Mary and Paul Reyelts
Nina and Ken Rothchild
Kay Savik and Joe Tashjian
Fred and Gloria Sewell
Lynda and Frank Sharbrough
Karen Sternal
Carolyn and Andrew Th omas
William Voedisch and Laurie Carlson
Ellen M. Wells
Nancy and Ted Weyerhaeuser
artist circle$1,000–$2,499Anonymous
Arlene and Tom Alm
Lowell Anderson and Kathy Welte
Jamie Andrews and
Jane Kolp-Andrews
August J. Aquila and Emily Haliziw
Nina and John Archabal
Satoru and Sheila Asato
Ruth and Dale Bachman
Ann and Th omas Bagnoli
Maria and Kent Bales
Mrs. Paul G. Boening
Conley Brooks Family
Joan and George Carlson
Barb and Jeff Couture
Mrs. Th omas M. Crosby, Sr.
Fran Davis
Judson Dayton
Ruth and Bruce Dayton
Th e Denny Fund of
Th e Minneapolis Foundation
Margaret Diablasio
Elise Donohue
| C
IND
ER
ELL
A
29
annual fund | individual giving
artist circle (continued)Ann Fankhanel
Ester and John Fesler
Gail and Donald Fiskewold
Salvatore Silvestri Franco
Kris and Kristina Fredrick
Christine and W. Michael Garner
Mr. and Mrs. R. James Gesell
Heidi and Howard Gilbert
Stanley and Luella Goldberg
Sima and Clark Griffi th
Bruce and Jean Grussing
Mr. and Mrs. Roger Hale
Hackensack Fund of
Th e Saint Paul Foundation
Don Helgeson and Sue Shepard
Sharon and Cliff Hill
Andrew Holly and
Svea Forsberg-Holly
John and Jean McGough Holten
Bill and Hella Mears Hueg
Th omas Hunt and John Wheelihan
Ekdahl Hutchinson Family Fund of
Th e Minneapolis Foundation
Teresa and Chuck Jakway
Markle Karlen
Th omas A. Keller, iii
E. Robert and Margaret V. Kinney
Fund of Th e Minneapolis
Foundation
Gerard Knight
Mrs. James S. Kochiras
Constance and Daniel Kunin
Mark and Elaine Landergan
Sy and Ginny Levy Family Fund of
Th e Minneapolis Foundation
Jerry and Joyce Lillquist
Bill Long
Dawn M. Loven
Roy and Dorothy Mayeske
Helen and Charles McCrossan
Sheila McNally
Judith and James Mellinger
Velia R. Melrose
David and LaVonne Middleton
Victoria and Charles Mogilevsky
Mr. 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
Derrill M. Pankow
Paula Patineau
Suzanne and William Payne
Suzanne and Rick Pepin
Mary and Robert Price
Connie and Jim Pries
Sara and Kevin Ramach
George Reid
John and Sandra Roe Foundation
Th omas D. and Nancy J. Rohde
Gordon and Margaret Rosine
Terry Saario and Lee Lynch
Sampson Family Charitable
Foundation
Patty and Barney Saunders
Dr. and Mrs. Richard J. Schindler
Matthew Spanjers
Julie and Bruce Steiner
Dana and Stephen Strand
Robert and Barbara Struyk
Michael Symeonides and Mary Pierce
Tempo Board Members
Mr. and Mrs. Philip Von Blon
James and Sharon Weinel
Mr. and Mrs. Don White
patron circleGold $750–$999Anonymous
Gerald and Phyllis Benson
Ruth E. Hanold
Nancy and Donald Kapps
Mahley Family Foundation
Pat and Dan Panshin
Ann M. Rock
Th e Harriet and Edson Spencer
Foundation
Warren Stortroen
Cindy and Steven Vilks
Frank and Frances Wilkinson
Lani Willis and Joel Spoonheim
Silver $500–$749Anonymous (2)
Charles Anderson
Eric S. Anderson and
Janalee R. Aurelia
Dr. and Mrs. Orn Arnar
Jo and Gordon Bailey Family Fund
of the Catholic Community
Foundation
Barbara S. Belk
Martin and Patricia Blumenreich
Judith and Arnold Brier
Dr. Hannelore Brucker
Th omas and Joyce Bruckner
Juliet Bryan and Jack Timm
Joann Cierniak
J.P. Collins
Elisabeth Comeaux
Roxanne and Joseph Cruz
Norma Danielson
Amos and Sue Deinard
Mary Elise Dennis
Jessica and Jonathan Doklovic
Joyce and Hugh Edmondson
Rondi Erickson and Sandy Lewis
Herbert and Betty Fantle
Mr. and Mrs. William Farley
Joyce and Hal Field
C.D.F. Foundation
Pamela and Richard Flenniken
Leslie and Alain Frecon
Jane Fuller
Terence Fruth and Mary McEvoy
Family Fund of Th e Minneapolis
Foundation
Katy Gaynor
David Gilberstadt
Marjorie and Joseph Grinnell
Jennifer Gross and Jerry LeFevre
Susanne Haas and Ross Formell
Roger L. Hale and Nor Hall
Albert and Janice Hammond
Frederick Hey, Jr.
Diane and Paul Jacobson
Margaret and Phillip Johnson
Janet N. Jones
Drs. Charles and Sally Jorgensen
Jane and Jim Kaufman
Kristen and Dean Lambert
Jonathan and Lisa Lewis
Ruth Lyons
Tom and Marsha Mann
Carolyn and Charles Mayo
Anne W. Miller
Mary Monson
Jack and Jane Moran
Lowell and Sonja Noteboom
John Ohle
Ann and John O’Leary
James A. Payne
Barbara and Carroll Rasch
Dan Rasmus and Kari Fedje Rasmus
Dennis M. Ready
Lawrence M. Redmond
Liane A and Richard G Rosel
Kim W. and Peter J. Rue
David E. Sander
Dr. Leon and Alma Satran
Ralph Schneider
Cherie and Bob Shreck
Mrs. Donald Sell
Cliff ord C. and Virginia G. Sorensen
Charitable Trust of
Th e Saint Paul Foundation
Anthony Th ein
Norrie Th omas
Emily Anne and Gedney Tuttle
Stephanie C. Van D’Elden
Jo and Howard Weiner
Barbara and Carl White
Helen and J. Kimball Whitney
Barbara and James Willis
S. B. Hadley Wilson
Mr. John W. Windhorst Jr.
Give to the Max Day is Tuesday, November 16
In celebration of the second GiveMN day, Minnesota Opera has received a
$5,000 challenge grant. Every new online gift through the GiveMN website
will be matched dollar-for-dollar!
Please visit the website giveMN.org on November 16 to make your charitable
gift and you will double your support!
Th ese lists are current as of October 1, 2010 and include donors who gave a gift of $500 or more during Minnesota Opera’s Annual Fund Campaign.If your name is not listed appropriately, please accept our apologies and contact Dawn Loven, Director of the Annual Fund, at 612-342-9567.
| M
INN
ES
OTA
OPER
A m
nopera
.org
30
Norton Hintz and Mary Abbe are avid and longtime
patrons of opera. In fact, in the early 1960s Norton was
chairman of the music committee of the Center Arts
Council (a volunteer organization that worked with
Walker Art Center to create programs). From the music
committee emerged Center Opera, which ultimately
became Minnesota Opera. It was Norton’s idea to use
local musical artists, composers and singers. Staff ed
by a tireless group of volunteers, this fl edgling new
opera company supported local talent.
Now nearly 50 years later, Norton reflects on how
far Minnesota Opera has come since his dream so
long ago. “Minnesota Opera has grown in national
and international stature. Without the exceptional
leadership of Kevin Smith, this company would not
be where it is today. Kevin has taken the seed of the
original cutting edge mission to make Minnesota Opera
one of the most accessible and boldly innovative opera
companies in the world.”
Minnesota Opera has truly blossomed over the years
bringing artistry to the Ordway stage, as Norton
remarks, “as good as you’ll see anywhere in the
world.” In fact, Norton and Mary are so determined to
ensure the next 50 years of great opera in Minnesota
that they have decided to include Minnesota Opera in
their estate plans. Believing in the mission is only part
of why they fi nancially support Minnesota Opera. “We
want to make certain that everyone in our state and
region can hear great opera.”
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
Th omas 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
Lois and Larry Gibson
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
Steve Keller
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 Th omas (†) McBurney
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 Pakudiatis
Sydney and William Phillips
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
(†) Deceased
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
Mary Abbe, son Mark and Norton Hintz
| C
IND
ER
ELL
A
31
Season SponsorTh e Private Client Reserve at U.S. Bank
Production SponsorsCinderella | Target
Conductor AppearancesSpencerStuart
Camerata DinnersLowry Hill
Gala SponsorU.S. Bank
Meet the Artists Offi cial CatererMacy’s Design Cuisine
Production Innovation SystemGeneral Mills
Resident Artist ProgramWenger Foundation
Tempo Cast PartiesSakura
Opera InsightsComcast
Champagne Intermission ReceptionsPiper Jaff ray
Broadcast PartnerMinnesota Public Radio
Sponsors $25,000+3M Foundation
Ameriprise Financial, Inc.
General Mills Foundation
Th e McKnight Foundation
Th e Medtronic Foundation
Minnesota State Arts Board
National Endowment for the Arts
Target
Th e Private Client Reserve at
U.S. Bank
Travelers Foundation
U.S. Bancorp Foundation
UnitedHealth Group
Th e Wallace Foundation
Platinum $10,000–$24,999Fred C. and Katherine B. Andersen
Foundation
Cargill Foundation
Comcast
Dorsey & Whitney Foundation
Ecolab Foundation
Education Minnesota Foundation
Ann and Gordon Getty Foundation
Anna M. Heilmaier Charitable
Foundation
Lowry Hill
Th e MAHADH Fund of
HRK Foundation
Piper Jaff ray
SpencerStuart
Twin Cities Opera Guild
Valspar Foundation
Wells Fargo Foundation Minnesota
Wenger Foundation
Gold $5,000–$9,999ADC Telecommunications
Allianz Life Insurance of
North America
Boss Foundation
Briggs and Morgan, P.A.
Cleveland Foundation
Deloitte
Faegre & Benson
Harlan Boss Foundation for the Arts
R. C. Lilly Foundation
Mayo Clinic
Onan Family Foundation
Pentair Foundation
Th e Carl and Eloise Pohlad Family
Foundation
Rahr Foundation
RBC Foundation – USA
Schwegman, Lundberg &
Woessner, p.a.
Securian Foundation
Xcel Energy Foundation
Silver $2,500–$4,999Dellwood Foundation
Mary Livingston Griggs and
Mary Griggs Burke Foundation
Hutter Family Foundation
Th e Fritz and Lavinia Jensen Foundation
Ted and Dr. Roberta Mann Foundation
Peravid Foundation
Th e Elizabeth C. Quinlan Foundation
Margaret Rivers Fund
Robins, Kaplan, Miller & Ciresi
Tennant Foundation
Bronze $1,000–$2,499Arts & Custom Publishing Co., Inc.
Athwin
Bailey Nurseries, Inc.
Burdick-Craddick Family Foundation
Enterprise Rent-A-Car Foundation
Hammel, Green and Abrahamson, Inc.
McVay Foundation
Lawrence M. O’Shaughnessy
Charitable Annuity Trust in honor of
Lawrence M. O’Shaughnessy
Peregrine Capital Management
Sewell Family Foundation
Sit Investment Foundation
Th e Regis Foundation
Wells Fargo Insurance Services
corporations, foundations and government
minnesota opera sponsors Minnesota Opera gratefully acknowledges its major institutional supporters:
For information on making a corporate or foundation contribution to Minnesota Opera, please contact the Institutional Gift s Manager Beth Comeaux at 612-342-9566 or email her at [email protected].
$100,000+
$50,000–$99,999
$25,000–$49,999
$10,000–$24,999
annual fund | insitutional giving
