Giuseppe Verdi

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Contents

The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson

Chair, Board of Directors Virginia L. Stringer

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May 2002

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Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Minnesota Opera Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Don Carlos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Behind Don Carlos: The History and the Drama . . . . . . . . . . . . . . 14

The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

The Camerata Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

The Minnesota Opera Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Sta∂. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

The Minnesota Opera Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Coming Up: The 2002 – 2003 Season . . . . . . . . . . . . . . . . . . . . . . . . . . 30

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Board of Directors

Dominick ArgentoH. Wesley BalkPhilip BrunelleElizabeth Close

Dolly FitermanCharles C. FullnerNorton M. HintzDonald W. Judkins

David P. KeefeLiz KochirasJevne PennockPatricia H. Sheppard

Honorary Directors

Julia W. Dayton, Director Emeritus James A. Rubenstein, legal counsel,Moss & Barnett

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Welcome. U.S. Bancorp Piper Jaffray ispleased to help bring you The MinnesotaOpera’s production of Don Carlos. Sponsoring the opera season is just partof our commitment to the arts and qualityof life in our community.

Staging this fine performance takes team-work. From the conductor to the cast mem-bers to the costume designers, manyindividuals are working together to enter-tain you. This team includes managementand patrons – even the audience – whomake a successful production possible.

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

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and talent in support of key activities of The Minnesota Opera.

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Wendy Silhavy

Wendi Sott

Dawn Stafki

Harry D. Swepston, III

John Thompson

Anne Townsley

Nicholas Trimbo

Doris Unger

Carolyn Wahtera

Barbara Willis*

Jeremy Wright

Melissa Zschunke

*Lead volunteer

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Keri Picket

Scenery and costumes for this production

are owned by Opera North (Leeds).

An Opera North Production®

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are made possible through a Minnesota Opera

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Music by Giuseppe VerdiLibretto by Joseph Méry and Camille du Locle

after Friedrich von Schiller’s dramatic poem (1787)

World premiere at the Paris Opéra, March 11, 1867

Revised four-act version presented at the Teatro alla Scala, Milan, January 10, 1884

May 11, 12, 14, 16, 18 and 19, 2002

Ordway Center for the Performing Arts

Sung in French with English captions

The CastDon Carlos, Infante of Spain Paul Charles Clarke*

Julian Gavin**

Elisabeth de Valois, Philippe’s queen Indra Thomas*

Geraldine McMillian**

Rodrigue, Marquis de Posa Jason Howard*

Carlos Marín**

Princess Eboli Robynne Redmon*

Alina Gurina**

Philippe ii, King of Spain Dean Peterson

The Grand Inquisitor Stefan Szkafarowsky

A monk Matt Boehler

Thibault, Elisabeth’s page Ana Rodriguez

Count de Lerma James Valenti

Celestial voice Karin Wolverton

Flemish deputies, o∑cers of the Inquisition, monks, lords and ladies of the Spanish court,

peasants, heretics, populace, guards and soldiers

Setting: Spain, about 1560

* performs May 11, 14, 18 ** performs May 12, 16, 19

Conductor . . . . . . . . . . . . . . . . . . . . .Marco Zambelli

Stage Director . . . . . . . . . . . . . . . . . . . . . .Tim Albery

Set Designer . . . . . . . . . . . . . . . . .Hildegard Bechtler

Costume Designer . . . . . . . . . . . . . .Nicky Gillibrand

Lighting Designer . . . . . . . . . . . . . . . .Tom Mannings

after original designs by Charles Edwards

Wig Master and Makeup . . . . . . . . . . . . .Tom Watson

Assistant Director . . . . . . . . . . . .Doug Scholz-Carlson

Assistant Conductor . . . . . . . . . . . . . . .Je∂rey Domoto

Chorusmaster . . . . . . . . . . . . . . . . . . . .Joseph Lawson

Production Stage Manager . . . . . . . . .Alexander Farino

English Captions . . . . . . . . . . . . . .Christopher Bergen

Paris represented the ultimate challenge for

Giuseppe Verdi. The operatic capital of the

world hosted triumphs for Italian composers of

previous generations but for Verdi, the reception

had been coolly mixed. Granted, such staples as

Rigoletto, La traviata (as Violetta) and Il trovatore (as Le

trouvèr e) had been wildly successful in French

t r a n s l at i o n, b u t t h e w o r k s Ve r d i w r o t e o r

r e w r o t e w i t h t h e F r e n c h f o r m u l a i n m i n d

( J é ru sa l em , Le s v ê p r e s s i c i l i e nn e s , Macb e th ) had not

achieved the success he had hoped. In fact, dur-

ing rehearsals of a revived Vêpres, an angered and insulted Verdi vowed never to return to a

theater whose management and musicians had caused him so much strife.

The reason for his return only a few years later is worthy of

speculation even today. He had been o∂ered a contract from

Emile Perrin, director of the Paris Opéra, for a spectacular

opera to be featured as part of the 1867 Universal Exhibition.

For his part, Perrin really needed a composer of first class but

had few candidates at his disposal. Giacomo Meyerbeer had

just died in 1864, and Richard Wagner, after the horrific fail-

ure of Tannhäuser in 1861, could hardly be considered a viable

option. Stigmatized by an institution which seemed to move

like “marble and lead,” Verdi couldn’t have been very excited

by another commission, prestigious as it was. Curiously, it

was Meyerbeer’s success that might have been one of his pri-

mary motivators – the ultimate composer of the French grandopéra style had been successful in Italy at the beginning of his

career, and now his French works, Les Huguenots, L’Africaineand Robert le diable were becoming big hits in Verdi’s native

land. Certainly Verdi was the superior composer and could

equal or even surpass Meyerbeer’s popularity on his home turf.

Perrin had the good sense to approach Verdi through the

composer’s French publisher, Léon Escudier. Three potential

subjects were proposed – King Lear, Cleopatra and Don Carlos.While it was his lifelong ambition to compose an opera on

King Lear and the epic proportions of the story would fit in

well with the Opéra expansive resources, the composer feared

the casting would be inadequate. He also passed on Cléopâtresince the story did not feature sympathetic lovers. Don Carlosintrigued him, however, as Schiller had served him well in

three operas to date: Giovanna d’Arco, I masnadieri and LuisaMiller. It was not the first time Schiller’s play had been pro-

posed – in 1850 Alphonse Royer and Gustave Vaëz suggested

it for the opera that would become Vêpres, and just the year

before that Verdi’s stalwart librettist, Francesco Maria Piave,

had prepared a libretto entitled Elisabetta di Valois. Clearly his

interest had been peaked in the past.

But Schiller’s drama lacked spectacle, and spectacle is what

grand opéra was all about. Not unlike today’s hyper-demand

for sensational special e∂ects in motion pictures,

bourgeois Parisians expected the same degree of tit-

illation in the 19th century. Each opera had to one-up

the last and as technology improved (i.e. the intro-

duction of electric lighting), this became all the

more possible. Librettists Camille du Locle and

Joseph Méry assisted the composer in livening up

Schiller’s play with the introduction of the ghostly

presence of Charles v and a plus non ultra auto-da-fé

scene with the entire cast, chorus and countless su-

pernumeraries in full regalia. Again, this was not an

original idea for the librettists, who also had at their

disposal a recent play by Eugène Cormon, Philippe ii,roi d’Espagne (1846), which references this menacing

tradition of the Spanish Inquisition. They also bor-

rowed the Fontainebleau scene, which does not

occur in Schiller, but fulfilled the grand opéra re-

quirement of having one setting in a foreign locale.

Verdi traveled to Paris in the summer of 1866

with a nearly complete score in hand and began the

long and particularly arduous seven-month rehearsal

process required by the opera’s management – mise-

en-scène was taken very seriously by the French di-

rectors even in those days. As the production neared

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Background Notes by David Sander

completion it was discovered that Verdi’s score had run 17

minutes over its allotted time. Grand opéra, after all, had its

rules – Parisian audiences liked their opera long but not too

long. A performance began promptly at 7:00 p.m. (never ear-

lier as not to rush dinner) and had to end by midnight so that

the suburbanites could catch the last train at 12:35. Thus

began the first series of cuts and revisions, which would not

be in completion until 20 years later and then not even in a

definitive form.

The first to go was a prelude and introduction, the prelude

setting the tinta of the opera so valued by Verdi, the introduc-

tion satisfying the dramatic necessity of explaining Elisabeth’s

predicament. It includes the peasants’ lament over the espe-

cially harsh winter as a result of France’s continuing war with

Spain, a war to be settled with a dynastic marriage between

the two countries. Elisabeth has a chance to display her gen-

erosity to a war widow, thus setting up her character as virtu-

ally unmarrable, which remains consistent throughout the

opera. Smaller nips and tucks elsewhere in the score shaved it

down to the standard duration.

One reason for the opera’s substantial length (itself unusual

for a composer known for his brevity) is that Verdi found

himself with a variety of strong characters: the duty-bound

Elisabeth, the widely irrational and romantic Carlos, the

ultra-patriotic Rodrigue, the powerful yet vulnerable King

Philippe, the equally powerful but strongly reactionary Grand

Inquisitor, and a dangerous, conniving beauty in Eboli. The

opera is laid out in a series of duets and confrontations – be-

tween Elisabeth and Carlos, Carlos and Rodrigue, Rodrigue

and Philippe, Philippe and the Grand Inquisitor, Elisabeth

and Eboli. Verdi expounds upon all of his favorite themes –

filial conflict, private anguish in the wake of public duty, pa-

triotism battling religious fervor. Don Carlos is sometimes de-

scribed as a “thinking person’s” Verdian opera. It certainly

represents the composer in all of his dramatic complexity.

Of course, much of this was lost on the bourgeois audi-

ence, and though Don Carlos was to achieve 43 performances,

it would soon be dropped from the repertory. The Parisians

may have taken their cue from the Empress Eugénie – she

took o∂ense at the intimate portrayal of Spain’s history, in-

cluding the vulnerability of Philippe ii, a national hero in her

native land. She found Verdi’s treatment of the Grand In-

quisitor especially distasteful at the moment when Philippe

tells the old priest to “Tais-toi,” essentially “shut up.” (Verdi

got his personal jibe at the clergy by requesting the Grand In-

quisitor be old and blind – blind both in sight and to the

changing world around him – but the double entendre was

not lost on the Empress.) The composer shut the door on Paris

for good. Ironically, his next opera, Aida, written for Cairo but

veiled in the grand opéra tradition, would become the toast of

the town after its French premiere in 1880. And to the com-

poser’s ultimate disgust, the last music to flow from his pen

would be for Paris – a ballet for the French premiere of Otello(as Othello) in 1894.

But this was not the end of Don Carlos. It received its Ital-

ian premiere later that year in all its Parisian glory but in Ital-

ian translation. Several years later for a production in Naples,

Verdi decided to make several subtle changes, particularly in

the duet between Rodrigue and Philippe, and this was pub-

lished as a second o∑cial version of the opera. But nothing

would match the revisions a decade later when, for a produc-

tion in Milan, he cut out nearly half of his original score.

Gone was entire first act, with Carlos’s aria transferred to Act

ii (now Act i), modified slightly to recall his happy idyll at

Fontainebleau with its unhappy result – the marriage of Elisa-

beth and Philippe. Not surprisingly, the ballet was jettisoned,

and Act iii (now Act ii) opened with a new prelude based on

themes from Carlos’s aria. The Rodrigue-Philippe duet was

revised yet again, becoming more of dramatic dialogue in-

dicative of Verdi’s later style. Other revisions included dis-

crete changes in the Rodrigue/Carlos Act ii duet, an amended

Act iv quartet during which Elisabeth assumes more power

and dignity befitting her royal lineage, followed by a new in-

surrection scene to close the act (after the Paris premiere the

act had ended abruptly with Rodrigue’s death so that the

baritone would not have to lie uncomfortably on the floor for

an additional 15 minutes). Changes were made in Act v as

well – the marziale in Elisabeth and

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continues on page 13

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SynopsisPhilip, King of Spain, has recently

married Elisabeth de Valois of

France. Carlos, his son, was origi-

na l ly meant to marry her .

They loved each other, but

n o w s h e i s h i s

stepmother.

Act iScene one – At the tomb ofC h a r l e s v C a r l o s

l a m e n t s h i s f a t e . A

monk offers Carlos words

of comfort. Carlos is ter-

rified because he is con-

vinced that the monk is

the ghost of Emperor

Charles v. Rodrigue has

just returned from

Flanders, where the

people suffer under

the repressive rule

of Spain. He urges

Carlos to fight for

their f reedom. The

k i n g a n d q u e e n ,

Philippe and Elisa-

beth, pass by on their

w ay t o M a s s . C a r l o s

knows that Elisabeth will never be

his and decides to devote himself to

the Flemish cause.

Scene two – A garden outside thecloister The ladies of the court

wait for Elisabeth

to return from the

morn ing Mas s .

Princess Eboli en-

t e r ta i n s t h e m

with a song. Ro-

drigue delivers

a secret note

from Car-

l o s t o t h e

q u e e n . Th e

court retreats,

a l lowing her

to meet Car-

los in private.

Carlos wants

Elisabeth to

a s k t h e

k i n g t o

send him

to F l an -

ders. He grows angry at her appar-

ent coolness. Recrimination quickly

turns to love. Elisabeth only extri-

cates herself from potential disas-

ter by brutally confronting

Carlos with the fact that

she is now his mother.

He leaves distraught,

and Elisabeth is dis-

covered alone by the

king. Furious at find-

ing the queen unat-

tended, he banishes

her French lady-in-

waiting. When the

court is gone, Philippe

interrogates Rodrigue,

w h o s h o c k s h i m b y

launching into a tirade

against Spanish policy

in Flanders. Impressed

by Rodrigue’s boldness,

P h i l i p p e r e v e a l s h i s

doubts about his wife’s fi-

delity and gives Rodrigue

the task of observing her and

Carlos. Rodrigue realizes the

political advantage of

having the trust of the

king.

Act iiScene one – The queen’s gar-den Carlos has received a

note – he presumes from

Elisabeth – inviting him

to a secret meeting.

His raptures of love are

s i l e n c e d w h e n t h e

“queen’s” veil is lifted

to reveal Eboli. In love

with Carlos, Eboli has

written the note. She

warns him of Rodrigue’s

new friendship with the

king. When Eboli real-

izes Carlos is in love with

Elisabeth and not her, she

turns on him. Rodrigue

appear s , f ea r ing that

Eboli might ruin his plans.

Despite his threats she

leaves, intent on vengeance. Ro-

drigue persuades a confused Carlos

to hand over any incriminating let-

ters he is carrying.

Scene two – The auto-da-fé The peo-

ple gather for a public burning of

the heretics condemned by the In-

quisition. The arrival of the king

and queen is interrupted by Carlos,

accompanied by a delegation from

Flanders. When Philippe rejects

their plea for clemency toward the

Flemish people, Carlos demands to

be sent to rule in Flanders. Philippe

reacts with scorn, and Carlos draws

his sword against his father. To Car-

los’s amazement, Rodrigue steps in

to disarm him. Carlos is led away to

prison as the burning begins.

intermission

Act iiiScene one – The king’s study Philippe

is now convinced that Elisabeth has

betrayed him with Carlos. He has

summoned the Grand Inquisitor,

who tells him that the Church will

sanction the killing of Carlos. But,

in return, the Church demands the

death of the king’s new advisor, Ro-

drigue. Philippe refuses, and the

matter is left unresolved. Elisa-

beth bursts in. She is furious:

someone has stolen her jewel

box. Philippe has it and con-

fronts her with the portrait

of Carlos he has found in-

side. When he accuses

her of infidelity she col-

lapses. His calls for help

are answered by Eboli

and Rodrigue. Eboli is hor-

rified to see the result of

her deceit – it was she who

gave the jewel box to the

king. Philippe, consumed

with self-disgust, realizes

his wife is innocent. Alone

with the queen, Eboli con-

fesses to the theft o f the

jewel box. When Eboli ex-

plains that she acted out of

jealousy and love of Car-

los, Elisabeth forgives

her. But when Eboli goes on

to confess that her anger at Carlos

has led her to commit adultery with

the king, the queen exiles her for-

ever from the court. Eboli, knowing

Eboli

Rodrigue

Carlos

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that she must live out her days in a

convent, realizes that she may still

be able to save Carlos.

Scene two – A prison Rodrigue

comes t o s e e Ca r l o s i n

prison. He has pretended

that Carlos’s incriminating

letters are his own and al-

lowed them to fall into the

hands of the authorities. He

hopes by this self-sacrifice

to save Carlos. An unseen

assassin shoots Rodrigue.

As he dies he tells Carlos to

meet Elisabeth early the next

morning at the tomb of

Charles v. She will help

him escape to Flanders.

Philippe arrives. Now

h e

knows that

Rodrigue is a

traitor, he is

r e a d y t o

f o r g i v e

Carlos. He

i s s h a t -

t e r e d t o

h e a r Ro -

d r i g u e

died delib-

e rate ly to

s av e h i s

s o n . Th e

p e o p l e ,

r o u s e d t o

rebellion by

Eboli, come to

f r e e C a r l o s ,

w h o e s -

c a p e s

b e f o r e

the Grand

Inquisitor man-

ages to crush the revolt.

Act ivAt the tomb of Charles v Elisabeth

and Carlos reconcile themselves to

parting, but before Carlos can leave

for Flanders, the king arrives and

hands them both over to the Inqui-

sition. As Carlos resists arrest, the

ghost of Emperor Charles v reap-

pears.

Background (continued)

Elisabeth

The Grand Inquisitor

Philippe

Carlos’s duet was reintroduced with

new orchestration (it had been removed

in the Naples revision), and the finale

was toned down a bit from its original

grand opéra climax. Other key scenes,

such as the auto-da-fé, Philippe and

Eboli’s Act iv arias, the whole of Act

ii’s second scene up to the point of

Philippe’s entrance, and the king’s con-

frontation with the Grand Inquisitor

were virtually untouched, making yet

another composite of Verdi’s earlier and

later styles (other examples include

Macbeth and Simon Boccanegra). The new

“Italian” Don Carlo premiered at La

Scala on January 10, 1884.

Though his new opera had more con-

cision and “sinew” as he described it,

Verdi still was not satisfied. The new

Don Carlo may have been shorter and

faster, but it seemed to lack the dra-

matic pacing and forethought estab-

lished by the original French five-act

version. Perhaps sensing this, Verdi pre-

sumably authorized one more edition of

the opera for Modena in 1886. This in-

cluded the return of the five-act format

with Fontainebleau restored and the

Carlos aria moved to its original posi-

tion. Otherwise the score is identical to

the four-act Milan version, complete

with the final revision of Philippe-Ro-

drigue duet that gave Verdi so much

trouble, and, of course, with no ballet.

With five versions of the opera (in-

cluding the “1866” score, which has

since restored the rediscovered music

cut during the rehearsal prior to the

Paris premiere), what is the definitive

version? The jury is still out as opera

impresarios struggle to include what

each considers to be the best music,

often in a further agglomeration of the

various versions. The Don Carlos you

will hear for these performances will be

the four-act Milan version, but sung in

French rather than the more commonly

performed Italian. At each juncture,

Verdi revised his opera in the French

and then had it translated. As a result,

the vocal line as originally conceived

brings out the subtlety of the French

text, and its prosody is better suited to

the original language – it is more lyric

and more intimate.

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History may be a crucial part of the

19th-century Romantic movement,

but Romanticism is rarely history, and if

one is looking for the real plight of Don

Carlos, they needn’t bother with Verdi’s

opera, Schiller’s drama, or really any

other literary adapta-

tion written prior to

the 20th century. As

can happen, the gos-

sip took hold of the

facts and led to wide

array of colorful adap-

tations of the events

surrounding Philip iiand his immediate

family during the

mid-16th century.

The first glaring

di∂erence is the set-

ting. Verdi and his li-

brettists place the

tragedy just after

1559, the year Philip

marries his third

wife, Elisabeth de

Valois, daughter of

French King Henri ii. This date also cor-

responds to the signing of the peace

treaty with France following the battle

of St. Quentin. But neither Philip nor

Carlos went to France for this occasion –

Elisabeth was married by proxy with the

Duke of Alba standing in for the Spanish

king. Also, Carlos was only 14 years old

at the time and Elisabeth a mere 13. It’s

true Philip seized upon an unexpected

opportunity to marry his son’s betrothed

after his second wife and cousin, Mary

Tudor, died in 1558, but Carlos and

Elisabeth never met until her arrival in

Spain, and the Infante’s troubles didn’t

precipitate until several years later, in

1567.

Twentieth century historians tell us

that Carlos and Elisabeth were simply

good friends. Close in age they shared a

mutual warmth uncommon in the chilly

formality of Philip’s court. As things

stood Carlos had his eye on a far more

advantageous match to his cousin Anne

of Austria, a marriage that would con-

nect with the other branch of the family

and put him in a good position to take

charge of the Spanish Netherlands. Mar-

rying close relatives was commonplace

in the Hapsburg family, and though it

was e∂ective in acquiring land mass, it

was equally as destructive in producing

capable rulers.

The Hapsburgs acquired Spain when

Juana, daughter of Ferdinand and Is-

abella, and Philip,

son of Maximilian iand Mary of Bur-

gundy, married in

1497. Juana was

known for her men-

tal instability, in-

herited from the

intermarriage of her

own Spanish and

Portuguese rela-

t ives . Her fina l

breakdown oc-

curred when her

husband, whom she

dearly loved, died

prematurely (she

was known to travel

with Philip’s co∑n

and remains for

months a f te r ) .

Though Juana “la loca” inherited the

rule of Castile from her mother, she was

locked up in the tower of Tordesillas

from 1506 until her death in 1555.

The young couple

had time enough to

produce a son,

Charles, who would

soon become the

Holy Roman Em-

peror Charles v. His

great inheritance in-

cluded Spain and its

New World posses-

sions and much of

Italy from Juana and

his grandfather, Fer-

dinand, and Austria

and the Netherlands

from his grandpar-

ents on the Haps-

burg side. Though

not as crazy as his

mother, Charles was

known to be melan-

choly, and he abdicated his throne in

1556, splitting the empire between his

son Philip and his younger brother Fer-

dinand. The most logical division would

have left Philip with Spain and Italy and

Ferdinand with Austria and the Low

Countries; yet Charles, feeling sentimen-

tal, chose to bequeath Flanders to Philip,

because he wanted his son to inherit the

country of his birth and his spiritual

home. Little did he know the trouble it

would cause.

At this time Europe was embroiled in

the Counter Reformation and Catholi-

cism was put to the test. England had

already renounced the old religion, as

did much of Germany, but Austria,

Spain and France remained committed

to the cause and to eradicating heresy.

Within its own boundaries Spain was

not especially threatened by the Protes-

tants, but Flanders, poised between two

Protestant fronts, was an easy target.

Margaret of Parma, Philip’s sister and

governor of the Low Countries, was en-

trusted with quelling the turbulence

roused by William, Prince of Orange,

but when she failed, Philip sent the

Duke of Alba. The ruthless Alba

quickly put down the resistance with an

iron hand by ordering the execution of

Counts Egmont and Horn, two of

William’s closest allies. Philip’s own ap-

pearance in the Netherlands might have

been helpful, and he intended to go but

was deta ined by

family problems

that arose thanks to

his son ’ s unpre-

dictability.

Car los was

plagued with prob-

lems from the day

he was born. His

mother, who Philip

deeply loved, had

died in childbirth,

and as he was imme-

diately estranged

from his father, Car-

los was raised by his

aunt. A serious head

injury result ing

from a fall in his

teens left everyone

in fear for his life

and though recovering, he was never ter-

ribly stable, exhibiting erratic behavior

that alternated between acts of great

generosity and appalling cruelty. There

Behind Don Carlos: The History and the Drama

Elisabeth de Valois (1545–1568)by Alonso Sanchez Coello

Eric

h Le

ssin

g, A

rt R

esou

rce

NY

Infante Don Carlos (1545–1568) by Alonso Sanchez Coello

Eric

h Le

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rt R

esou

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NY

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can be little doubt Philip began to see

the seeds of the family’s mental illness in

his son. The intermarriages were espe-

cially close in Carlos’s case – among his

great-grandparents he could count only

four (instead of the usual eight) and only

s ix great-great

grandparents (in-

stead of the usual

16). Naturally Car-

los pressed for a

greater role in gov-

ernment, including

the rule of Flanders,

yet Philip tarried,

hoping to see signs

of improvement in

his only heir.

Things came to a

head in 1567 when

Philip sent Alba to

Flanders instead,

and Carlos privately

conspired to go to

the Low Countries

as a subversive to

ra l ly the rebe l s

around in a plan hatched by Egmont a

few years before. Oddly, he confided his

plans to Ruy Gómez de Sylva, Prince of

Eboli and Philip’s closest advisor, who

promptly told the king. Philip had Car-

los taken into custody with the intention

of never releasing him, much like his fa-

ther had done with his own mother

Juana. Before any news could leave the

Spanish border, Philip cautiously wrote

to all the heads of Europe explaining

what he had done. No one

was really surprised.

Fortunately for Philip,

Carlos died in captivity on

July 24, 1568, after six

months of alternate binge-

ing and starvation. Less

convenient was Elisabeth’s

death three months later of

complications from pneu-

monia and childbirth. Im-

mediate ly rumors

abounded that Philip had

poisoned Carlos and Elisa-

beth because of an illicit

love a∂air, gossip put into play by

Protestant adversaries such as William of

Orange. Philip paid it no mind and

promptly married another of his son’s

betrothed (and his own niece), Anne of

Austria. Together they produced another

sickly heir who would become Philip iii.The poison theory was seized upon a

century later by César Vischard Saint-

Réal who brandished

his own take on his-

tory in Don Carlos,Nouvelle historique(1672). Naturally he

portrays Philip as a

monstrous villain,

and with a Henry

the Eighth twist,

goes just short of

suggesting Philip

murdered Elisabeth

so he could marry

Anne (Elisabeth,

after all, had not pro-

v ided any sons ) .

Thomas Otway, Jean

Racine, Vittor io

Alfieri, Robert Wat-

son and Louis Sébas-

t ian Merc ie r

followed with similar feats of fiction, and

when the time came Schiller himself

turned to Saint-Réal for guidance.

Though still far from being historically

accurate, Schiller shied away from the

poison theory and, indeed, the whole

love a∂air. The author also injects into

Philip’s traditional depiction as a cold-

hearted tyrant a dose of humanity, at-

tributes that later would be given

greater attention by Verdi.

Friedrich von Schiller

(1759 – 1805) was part of

the Sturm and Drangmovement of the late 18th

century, a precursor to

Romanticism. Translated

as “Storm and Stress,”

these works commonly

featured frustrated ideal-

ism in pursuit of libertar-

ian goals , o f ten in a

pseudo-historical setting.

Both the enlightened

phi losophy o f Jean-

Jacques Rousseau and the

logic behind the French Revolution un-

derwrote Schiller’s works, later to be

highly influential for the development of

Romantic literature during the early

part of the 19th century.

Don Carlos is a play from the early

part of Schiller’s career. The subject was

not easily addressed, and the completed

work is somewhat uneven in its dra-

matic outlay, the result of a shift in the

author’s original intention to create a

drama with political significance to the

domestic tragedy of a dysfunctional

family. The libertarianism is not lost

but, in fact is doubled by both Carlos

and Posa’s intention to change the

world, countered by an equally formida-

ble team of antagonists in the Duke of

Alba and the Grand Inquisitor. Feeling

the weight of so many complicated

characters, Verdi chose to write Alba

out of his opera – also the Duchess of

Alba in 1866 just happened to be

French Empress Eugénie’s sister.

Other changes in adapting a rather

shapeless play to the lyric stage led to

several of the opera’s inconsistencies.

Chief among these is the presence of

Charles v, whose ghost is said to haunt

the royal palace. In the play, Carlos uses

the rumor to his advantage as he dons a

monk’s robe to get past the guards and

gain access to Elisabeth’s chamber. But

at the drama’s conclusion Philip rather

anticlimactically has the o∑cers of the

Inquisition take Carlos into custody.

Verdi and his librettists latched onto the

possibility of Charles roaming the

monastery, inspired by the legend that

the emperor had staged his own funeral

so that he could attend it himself. Yet

they can’t seem to agree as to the physi-

cal condition of Charles – man or ghost

– yet Verdi was keen on altering the

ending from Schiller’s original, believ-

ing that the emperor’s intercession in

Carlos’s capture would leave the In-

fante’s fate more hopeful, perhaps re-

gaining the liberty to achieve his

revolutionary ideals.

Also inconclusive in the opera is

Eboli’s a∂air with the king. In Schiller’s

play, Philip has been courting Eboli for

quite some time. She allows herself to be

seduced only after learning of Carlos’s se-

cret love for Elisabeth and uses the situa-

tion to obtain further incriminating

information against her royal mistress.

continues on page 25

Philip II (1527–1598)by Alonso Sanchez Coello

Friedrich von Schiller

Eric

h Le

ssin

g, A

rt R

esou

rce

NY

The Artistst

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18For more biographical information about these artists,

visit our website at www.mnopera.org

Matt BoehlerA monk

Minnesota Opera Resident ArtistRecently

Little Women; La bohème; others, The Minnesota OperaLa bohème, Fargo-Moorhead Civic Opera

Orpheus in the Underworld; Christopher Sly; The Consul; others, Des Moines Metro Opera

Amahl and the Night Visitors; The Magic Flute; Le nozze di Figaro; The Threepenny Opera, Viterbo College

UpcomingA Midsummer Night’s Dream, Central City Opera

2002-2003 Resident Artist, The Minnesota Opera

Paul Charles ClarkeDon Carlos

Minnesota Opera DebutFaust, 1999

RecentlyThe Bartered Bride, Royal Opera House – Covent GardenManon, The Dallas OperaLucia di Lammermoor, Seattle OperaMadame Butterfly, Deutsche Oper Berlin

UpcomingMadame Butterfly, Welsh National OperaMaria Stuarda, Edinburgh FestivalThaïs, English National Opera

Julian GavinDon Carlos

Minnesota Opera DebutRecently

Tosca, Opera ColoradoLes contes d’Hoffmann, Washington Opera

La bohème, De Vlaamse OperaIl trovatore, English National Opera

UpcomingAndrea Chénier, Opera Queensland

Andrea Chénier; La traviata, Washington OperaMacbeth, De Nederlandse Opera

Carmen, Teatro Real (Madrid)

Alina GurinaPrincess Eboli

Minnesota Opera DebutRecentlyCavalleria rusticana; Verdi Requiem, Canadian Opera Co.Carmen; Don Carlo; Rusalka; others, Janacek Opera BrnoSamson et Dalila; Carmen, Stadttheater Giessen Bluebeard’s Castle, (Budapest)

UpcomingRigoletto, Florentine OperaCavalleria rusticana, Erfurt (Germany)

Jason HowardRodrigue

Minnesota Opera DebutMacbeth, 2000

RecentlyMadame Butterfly, Scottish Opera

Rigoletto, Edmonton OperaLa traviata, English National Opera

Peter Grimes, Opéra National de Paris – BastilleMourning Becomes Elektra, Lyric Opera of Chicago

UpcomingLa traviata, New York City Opera

Rigoletto, Scottish Opera

Carlos MarínRodrigue

Minnesota Opera DebutLucia di Lammermoor, 2001

RecentlyRoméo et Juliette, Opera de OviedoMadame Butterfly, Opéra de MontpellierLucia di Lammermoor, Teatro Regio di Parma

UpcomingLa bohème, Opéra de LausanneLa capricciosa coretta, Opéra de Lausanne;

Opéra de Bordeaux; Teatro de la Zarzuela (Madrid)

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

Geraldine McMillianElisabeth

Minnesota Opera DebutTurandot, 1995

RecentlyDon Giovanni, Nashville Opera; Connecticut Opera

Dialogues des Carmélites, Central City OperaTreemonisha, Opera Theatre of St. Louis

Aida, Memphis Opera; Boston Lyric OperaTosca; Aida; Don Giovanni, The Minnesota Opera

Porgy and Bess Suite, NDR Sinfonieorchester Hamburg;Detroit Symphony; Pacific Symphony Orchestra

Dean PetersonPhilippe

Minnesota Opera DebutRecentlyThe Merry Widow, Los Angeles OperaStreet Scene; Otello, Lyric Opera of ChicagoWozzeck, The Dallas OperaThe Bartered Bride, Canadian Opera CompanyL’italiana in Algeri, Metropolitan Opera

UpcomingCosì fan tutte, San Diego OperaLe nozze di Figaro, Opera CarolinaCold Sassy Tree, Utah Opera

Robynne RedmonPrincess Eboli

Minnesota Opera DebutRecently

Don Carlos, Boston Lyric OperaNorma, Fort Worth Opera; Staatsoper Berlin; Opéra de Marseille; Lyric Opera of Chicago

Rigoletto, The Dallas OperaSalome, Glimmerglass Opera

Armide, Teatro alla Scala

UpcomingDialogues des Carmélites, Glimmerglass Opera

Iphigénie en Aulide, vara Radio Amsterdam

Ana RodriguezThibault

Minnesota Opera Resident ArtistRecentlyLittle Women; La bohème; La clemenza di Tito;

Lucia di Lammermoor, The Minnesota OperaGianni Schicchi; Carmen; Le nozze di Figaro;

L’enfant et les sortilèges, Orlando Opera CompanyLa bohème, Opera North (New Hampshire)Cinderella; Toy Shop, Cincinnati Opera E & OCherubin, IVAI (Tel Aviv)L’elisir d’amore, Cincinnati College Conservatory of MusicAmore e guerra, Opera Theater of Lucca (Italy)

Indra ThomasElisabeth

Minnesota Opera DebutRecentlyDon Carlos, Boston Lyric OperaPorgy and Bess, Live From Lincoln CenterOtello; Il pirata, Caramoor FestivalSimon Boccanegra, San Francisco OperaTurandot, Metropolitan OperaVerdi Centennial, Michigan Opera Theatre

UpcomingAida, Atlanta OperaIl trovatore, Michigan Opera Theatre

Stefan SzkafarowskyGrand Inquisitor

Minnesota Opera DebutRecently

The Tales of Hoffmann; Il trovatore, Washington OperaNabucco; Aida, L’Opéra de MontréalWar and Peace, Metropolitan Opera

The Flying Dutchman, Vancouver OperaLucia di Lammermoor, Teatro Municipal de São Paulo

Luisa Miller, Palm Beach OperaEugene Onegin, Opera Ontario

Nabucco, Teatro Municipal (Santiago, Chile)Macbeth, Manitoba Opera

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

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James ValentiCount de Lerme

Minnesota Opera Resident ArtistRecently

Grand Prize Winner – Metropolitan Opera Nat’l CouncilLa bohème; Lucia di Lammermoor; Pagliacci; Street Scene;

Turandot, The Minnesota OperaTurandot; The Magic Flute; Il prigioniero,

Opera Festival of New JerseyCandide; Gianni Schicchi, W. Virginia Univ. Opera Theatre

UpcomingOrlando Paladino; Dialogues of the Carmelites;

Cavalleria rusticana/Pagliacci, Glimmerglass Opera

Karin WolvertonCelestial voice

Minnesota Opera DebutLucia di Lammermoor, 2001

RecentlyMasterclass, Park Square TheatreLittle Women; La bohème; others (ensemble),

The Minnesota OperaDialogues of the Carmelites; Le nozze di Figaro;

L’incoronazione di Poppea, U of M Opera TheatreFeatured soloist – U of M Sesquicentennial Celebration

Upcoming2002-2003 Resident Artist, The Minnesota Opera

Hildegard BechtlerSet Designer

Minnesota Opera DebutRecentlyWar and Peace; Peter Grimes; Lohengrin; Boris Godunov,

English National OperaLa Wally, Bregenz Festival; Amsterdam Muziek TheaterSimon Boccanegra, Munich StaatsoperDon Giovanni, Glyndebourne FestivalWozzeck; Katya Kabanova, Opera North

UpcomingLady Macbeth of Mtensk, Opera AustraliaDer Ring des Nibelugen, Scottish Opera

Jeffrey DomotoAssistant Conductor

Minnesota Opera Resident ArtistRecently

Little Women; Lucia di Lammermoor; Pagliacci/Carmina burana; The Barber of Seville; others,

The Minnesota OperaNutcracker Fantasy, Minnesota Dance Theatre

Cover Conductor – Minnesota OrchestraAssistant Conductor – Central City Opera (1999);

Yale Opera; Philharmonia Orchestra of Yale

Alexander FarinoProduction Stage Manager

Minnesota Opera DebutRigoletto, 1995

Recently1996 – 2002 seasons, The Minnesota OperaAcis and Galatea; Central Park; Tosca,

Glimmerglass OperaMadame Butterfly, Opera PacificLa bohème, Los Angeles Opera

UpcomingCandide, Minnesota OrchestraThe Merry Widow, The Minnesota Opera

Tim AlberyStage Director

Minnesota Opera DebutRecently

A Midsummer Night’s Dream; The Merry Widow,Metropolitan Opera

War and Peace; La bohème (Leoncavallo); From the House of the Dead, English National Opera

Die Walküre; Das Rheingold, Edinburgh Festival; Scottish OperaBeatrice and Benedict, De Nederlandse Opera; Santa Fe Opera

Katya Kabanova; Così fan tutte, Opera NorthMacbeth, The Royal Shakespeare Company

CELEBRATE MEMORIAL DAYWITH YOUR COMMUNITYMonday, May 27Ceremony, 10:30 A.M.Activities, 12–4 P.M.at Lakewood Cemetery

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This year, honor Memorial Day at Lakewood Cemetery with your com-munity. Attend Lakewood’s traditional ceremony featuring gospel music by Robert Robinson and members of the Twin Cities Community Gospel Choir.

Afterwards, spend the day participating in edu-cational activities for all ages, including historical tours of Lakewood, museum-style exhibits about Minneapolis history, live music in Lakewood’s historic chapel and refreshments. All activities are free and open to the public.

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

Joseph LawsonChorusmaster

Minnesota Opera DebutDer Rosenkavalier, 2000

RecentlyLa bohème; La clemenza di Tito; Lucia di Lammermoor;

2000-2001 seasons, The Minnesota OperaThe Glassblowers; L’étoile, Glimmerglass OperaOverture 757 (original composition), Carnegie HallCarmen, Tulsa Opera

UpcomingCavalleria rusticana/Pagliacci, Glimmerglass OperaSusannah, Lyric Opera of Chicago

Nicky GillibrandCostume Designer

Minnesota Opera DebutPelléas et Mélisande, 1996

RecentlyA Midsummer Night’s Dream, Royal Shakespeare Company

Hansel and Gretel, Opera NorthThe Queen of Spades, Royal Opera House – Covent Garden

War and Peace, Opéra National de Paris – BastilleBoris Godunov, English National Opera; Canadian Opera Co.

Lady in the Dark, Royal National TheatreSix Characters in Search of an Author, Young Vic TheatreFlight, Glyndebourne; Netherlands Reisopera; Flanders Opera

photo not available

Doug Scholz-CarlsonAssistant Director

Minnesota Opera DebutDer Rosenkavalier, 2000

RecentlyLucia di Lammermoor, Pittsburgh OperaI Capuleti e i Montecchi, New York City OperaMinnesota Shakespeare Festival at Grand MaraisLa bohème; others, The Minnesota OperaForever Plaid, Chanhassen Dinner TheaterGross Indecency; Sweeney Todd, Guthrie TheaterHamlet, Minnesota Shakespeare ProjectHamlet; The Tempest; others, Utah Shakespeare Festival

Tom ManningsLighting Designer

Minnesota Opera DebutRecently

La forza del destino; La traviata; Il barbiere di Siviglia; Carmen,English National Opera; Teatro Liceu (Barcelona)

Der Rosenkavalier, Teatro Real (Madrid)Falstaff, New Israeli Opera

La rondine, Opera NorthPeter Grimes, Bayerische Staatsoper (Munich)

William Tuckett; Jazz Exchange, Royal Opera HouseLe nozze di Figaro, Pimlico Opera

Le nozze di Figaro; Falstaff, Forward Opera

Tom WatsonWig Master and Makeup

Minnesota Opera DebutThe Pearl Fishers, 1986

RecentlyOpera Theatre of St. Louis (season)

Santa Fe Opera (season)The Minnesota Opera (1986-2002 seasons)

Metropolitan Opera (season)Jane Eyre; Dirty Blonde, (Broadway)

UpcomingThe Merry Widow, The Minnesota Opera

Marco ZambelliConductor

Minnesota Opera DebutRecentlyTancredi; Luisa Miller, Teatro San Carlo; rai TelecastFidelio, Opéra de MetzDon Giovanni, Opéra de NiceLa Cenerentola, Hong Kong International Music FestivalMadame Butterfly, New Zealand Opera

UpcomingLa traviata, Teatro La FeniceTancredi, Teatro Regio (Parma); Teatro Comunale (Ferrara);

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•22

Dear Friends,

For several years, Rider, Bennett, Egan

& Arundel has enthusiastically spon-

sored The Minnesota Opera’s Camerata

Dinners. These pre-performance dinners

provide an elegant and fun atmosphere

at which The Minnesota Opera’s most

passionate supporters can get together to

eat, drink, talk opera, talk shop, or just

talk about life.

Invitations to the Camerata Dinners are

o∂ered to all members of the Camerata

Circle—those individuals who con-

tribute $1,500 or more to the Opera’s

operations. You may be surprised to

know that individual contributions are

the single largest area of financial sup-

port for The Minnesota Opera. To main-

tain a world-class opera company in our

midst, those of us who love the art form

need to support it generously. The Min-

nesota Opera fills each of our lives with

the wonder and thrill of top-quality

opera, from traditional classics like Labohème and Don Carlos to premieres like

next year’s evocative The Handmaid’sTale.

I hope you will consider becoming a

member of the Camerata Circle. If you

already are a member, I hope you’ll con-

sider renewing at a higher level, or mak-

ing an additional gift. Help us keep up

the great work.

R. Thomas Greene, Jr.

Partner; Rider, Bennett,

Egan & Arundel

Minnesota Opera Board of Directors

An invitation to the Camerata Circle

The newest members of the Camerata CircleIn the last year, the following individuals have joined our most generous donors in The Minnesota Opera’s

Camerata Circle. You can become a part of this team of Opera supporters, too.

Eric and Donna AanensonMr. John Andrus IIIMartha Goldberg Aronson and Daniel AronsonMartha and Bruce AtwaterAmy and Ford Watson BellRalph and Kathleen CadmusElwood F. and Florence A. CaldwellCharles ClevelandJeff and Barb CoutureDr. Susan and Richard CrockettMary Lee and Wallace DaytonChuck DennyRondi EricksonHenry and Anice FleshLori and Tom FoleyJames FultonChristine and W. Michael GarnerR. Thomas Greene, Jr.Jose Peris and Diana GuldenAlfred and Ingrid Lenz HarrisonDon and Arlene HelgesonRoger W. HollanderElizabeth A. HueyJacqueline Nolte Jones

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Camerata CirclePlatinum: $10,000+For more information about the

Camerata Circle Platinum category,

please call the Development Depart-

ment at 612-342-9565.

Gold: $5,000-$9,999Personal one-on-one lunch with opera

leadership, plus benefits listed in the

Silver category.

Silver: $2,500-$4,999Ticket exchange privileges and seat-

ing priority A, set of five libretti for

the 2002-2003 season, complimen-

tary parking for all five operas (must

be ordered by October 1, 2002), per-

sonal tour of The Minnesota Opera

Center (on request), plus benefits

listed in the Bronze category.

Bronze: $1,500-$2,499Guar an t e ed r e s e rv ed pa rk ing

($7 each), ten passes to a dress re-

hearsal, plus benefits listed in the

Benefactor category.

Artist CircleBenefactor: $1,000-$1,499Invitations to all pre-performance

dinners, recognition in all season pro-

grams, eight passes to a dress re-

hearsal, plus benefits listed in the

Patron category.

Patron: $500-$999Invitation to a pre-performance din-

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vitations to two “Behind the Scenes”

preview dinners at The Minnesota

Opera Center, plus benefits listed in

the Associate category.

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preview dinner at The Minnesota

Opera Center, four passes to a dress

rehearsal, plus benefits listed in the

Friend category.

Friend: $100-$249Two passes to a dress rehearsal, recog-

nition in one program, 25% discount

on Minnesota Opera adult education

c l a s s e s , s ub s c r i p t i on t o The

Minnesota Opera newsletter, Ovation!

2002–2003 Donor Benefit Packages

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The Minnesota Opera Chorus

The Minnesota Opera OrchestraViolin IKristen Christensen,

concertmaster David Mickens

Sheila Hanford

Judy Thon-Jones

Andrea Een

Almut Engelhart-Kachian

Dragan Stojkovic

Holly Ager

David Delgado Morán

Elizabeth Brausa

Violin IIJulia Persitz

Elizabeth Decker

Stephan Orsak

Melinda Marshall

Carolin Kiesel Johnson

Margaret Humphrey

Anne Strasser

Miriam Gri∑th

ViolaAnnette Caruthers

Vivi Erickson

Laurel Browne

Jenny Lind Nilsson

Susan Janda

James Bartsch

CelloJim Jacobson

Adriana LaRosa Ransom

Rebecca Arons Goetz

Thomas Austin

Sally Dorer

Joseph Englund

BassJ. Michael Smith

Constance Brown

George Stahl

Michael Watson

FluteMichele Frisch

Amy Morris

Casey Kovacic

OboeMarilyn Ford

Joel Abdella

ClarinetSandra Powers

Nina Olsen

BassoonCoreen Nordling

Laurie Hatcher Merz

Peter Douglas

William Oldfather

HornCharles Kavalovski

Charles Hodgson

Michael Petruconis

Lawrence Barnhart

TrumpetJohn G. Koopmann

Christopher Volpe

Douglas Altilio

Craig Hara

TromboneSteven Lund

Sue Roberts

David Stevens

TubaRalph Hepola

TimpaniKory Andry

PercussionMatthew Barber

Michael Holland

HarpAndrea Stern

BandaTrumpet/CornetRamon F. Vasquez

Joseph Cosgrove

HornThomas Gilkey

Tricia Lerohl

TromboneSteve Hammerschmidt

Craig Stilen

TubaTrygve Skaar

Joe Andrews

Carlos Archuleta*

Robb Asklof

Don Barbee

Bryan Boyce

Anna Brandsoy

Michael Cain

Je∂rey Carlson

Julie Carpenter

Kelvin Chan

Julie Conzemius

Steve Dahlberg

Daniel Eifert

Andy Elfenbein

L. Peter Erickson

Paul Griggsby

Jack Gunderson

April Hanson

Johanna Harley

Kate Haugen

Robin Heggen

Roy Heilman

Sandra Henderson

Dale Hills

Leah Howard

Kathryn Jensen

Georgette Johnson

Matthew Johnson

Brian Jorgensen

Roy Kallemeyn

Naomi Karstad

Ryan Kinsella*

Joe Kolbow

Elizabeth Longhurst

Bryan Maus

Eric Mellum

Chandler Molbert

Julie Olsen

Janet Paone

Steven Pearthree

Dawn Pierce

Christy Pritchard

Ana Romero

Christopher Russell

Scott Sandberg

Steve Sandberg

Joy Scheib

Robert Schmidt

Karen Weaver

Karen Wilkerson

Justin Wilson

Karin Wolverton

Daniel Zeddies

SupernumerariesCountess d’ArembergAmy Matthews

HereticsDavid Touchstone

Kenny Kiser

Amy Matthews

Allison Flamm**

Karen Bowmann**

Resident Artists covering principal roles

Carlos Archuleta – Rodrigue

Matt Boehler – Philippe

Ryan Kinsella – Rodrigue

James Valenti – Don Carlos

* denotes Resident Artist** student of New Breath

Productions

North StarOpera

Where Opera is Always Fun

Everything Sung in English

Richard TraubnerInternationally acclaimed

author and historian

“Operetta: A Theatrical History”Wed., June 5, 6:30 pm

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reservations necessary, 651-224-1640

Countess MaritzaViennese Operetta

Starring Norah Long, Mark Schowalter,

Jennifer Baldwin Pedenand Christina Baldwin Fletcher

June 15 – 23for tickets, 612-343-3390

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StaffPresident & CEO . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin SmithArtistic Director . . . . . . . . . . . . . . . . . . . . . . . . . . Dale JohnsonGeneral Manager . . . . . . . . . . . . . . . . . . . . . . . . John Humleker

ArtisticArtistic Administrator . . . . . . . . . . . . . . . . . Roxanne Stou∂er CruzArtistic Associate . . . . . . . . . . . . . . . . . . . . . . . . . Floyd AndersonEducation Coordinator . . . . . . . . . . . . . . . . . . . . . Holly CarpenterDramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David SanderProduction Stage Manager . . . . . . . . . . . . . . . . . . Alexander FarinoStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yasmine KissAssistant Stage Manager . . . . . . . . . . . . . . . . . . . . . .Lee HendersonOPERA America Stage Management Fellow . . . . . . . . .Trevore RossResident Artist Music Director . . . . . . . . . . . . . . . . .Bruce StasynaChorusmaster/Head Coach . . . . . . . . . . . . . . . . . . . . Joseph LawsonResident Artist Instructors . . . . . . .Carlotta Dradi-Bauer, Miriam Scholz-Carlson,

Doug Scholz-Carlson, Stuart Pimsler, Nancy TibbettsResident Artists . . . . . Carlos Archuleta, Matthew Boehler, Je∂rey Domoto,

Ryan Kinsella, Laura Loewen, Ana Rodriguez, James ValentiEducation Personnel . . . . . . . . . . . . . . . . . . . Raymond Berg, Peggy Endres,

Kenny Kiser, David Moore, Jonathan Niel, Janet Paone, Joseph Schlefke, Elise Skophammer,

Roger Skophammer, Casey Stangl, Ed Williams, Joan Womeldorf

Mentor Connection participant . . . . . . . . . . . . . . . . . . . .Megan Furman

CostumesCostume Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Gail BakkomAssistant Costume Director . . . . . . . . . . . . . . . . . . . . Beth SandersDrapers . . . . . . . . . . . . . . . Chris Bur, Angela Patten, Yancey ThriftFirst Hands . . . . . . . . . Helen Ammann, Mark Heiden, Valerie HillWig/Makeup Assistants . . . . . . . . . . Jodi Heath, Emily RosenmeierDyer/Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Marliss JensonStitchers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jennifer Dawson,

Jeanne Finch, Stephanie Vogel

SceneryScenic and Lighting Director . . . . . . . . . . . . . . . . . . . . . Tom MaysTechnical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Stuart SchatzScenic Administrator . . . . . . . . . . . . . . . . . . . . . . Holly CarpenterAssistant Lighting Designer . . . . . . . . . . . . . . . . .Nicole SimoneauProperties Master . . . . . . . . . . . . . . . . . . . Stanley Dean HawthorneProperties Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . Mike LongCharge Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael BolinScenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra JensenProduction Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . . . . . . . . . . . . . . . . . . . . Rod AirdCarpenters . . . . . . . . . . . . . . . . . . . . . . . . . Patrick Dzieweczynski,

Mike McQuiston, Steve Rovie

AdministrationController . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Je∂ CoutureOperations/Systems Manager . . . . . . . . . . . . . . . . Steve MittelholtzAccounting Associate . . . . . . . . . . . . . . . . . . . . . . . . Jennifer ThillEvents/Volunteer Coordinator . . . . . . . . . . . . . . . . . . . Sarah CurtisExecutive Assistant . . . . . . . . . . . . . . . . . . . . . . . . Theresa MurrayAdministrative Interns . . . . . . . . . . .Seth Howard, Kirstin Kuchler

DevelopmentDevelopment Director . . . . . . . . . . . . . . . . . . . . . . . . . . Bill VenneInstitutional Gifts Manager . . . . . . . . . . . . . . . . . . . . Jaime MeyerDevelopment Assistant . . . . . . . . . . . . . . . . . . . . . .Vicky EmersonDevelopment Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jen Brune

Marketing/CommunicationsMarketing and Communications Director . . . . . .Glyn NorthingtonCommunications Manager . . . . . . . . . . . . . . . . . . . . . . Lani WillisTicket O∑ce Manager . . . . . . . . . . . . . . . . . . . . . . . . Jason YoungTicket O∑ce Assistants . . .Andrea Corich, Nancy Poechmann, Jessica SteinReceptionist/Information Specialist . . . . . . . . . . . . . . . . Malia Long

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Her later heroic e∂orts to save Carlos

with the insurrection are a borrowing

from Eugène Cormon’s 1846 drama,

Philippe II, rather than from Schiller.

The real Eboli provided ample inspira-

tion for both artists. Married to Ruy

Gómez, nearly 20 years her senior, she

bore nine children and still had time for

a∂airs around the court (though there is

no evidence that her lovers included

Philip). Conniving and vain, she sported

a black patch over one eye (either as an

a∂ectation or to cover a physical defor-

mity) and was eventually banished to the

provinces after a particularly scandalous

relationship with a younger man. Verdi

once stated that, next to Philip, Eboli

was his most engaging character.

Though many have tried, no one has

been able to successfully trace the shad-

owy Marquis de Posa to an actual per-

sonage. He is more the embodiment of

Schiller himself and the author’s enlight-

ened principles. It is Posa who is the in-

strument of change, setting into motion

the stagnant relationships that beset the

entrenched romantic triangle of Carlos,

Elisabeth and Philip. Both he and Philip

believe they can change one another and

are frustrated by their bilateral lack of

success.

Schiller’s denouement is naturally

more complex, involving further letters,

court intrigue and veiled misunderstand-

ings. Both artists gave Philip the most

attention, and from Schiller Verdi lifted

practically verbatim the text for

Philippe’s important scenes. He also em-

braced the Shakespearean qualities inher-

ent in Schiller’s work – the impassioned,

brooding, ine∂ective Hamlet brought

into the character of Carlos, and the

loneliness and isolation felt by many a

Shakespearean monarch elaborated upon

by Philippe, who, in his desperation to

find a substitute son, seeks out a danger-

ous revolutionary, only to sacrifice both

to his spiritual father and confessor. Few

moments are more moving than

Philippe’s aria, “Elle ne m’aime pas,”

which so eloquently imparts the burden

of leadership, a sleepless king defending

both a religion put to the test and a do-

minion constantly under siege, who had

never known peace for the entire 42

years of his reign.

Don Carlos (continued from p. 15)

Lonna Mosow’s Center for Mind Body Fitness.6409 City West Parkway • Eden Prairie, MN (952) 941-9448

FROM

JOSEPH

P I L AT E S

S T RO N G A N D S T R E TC H E D.T H E U LT I M AT E W O R KO U T F O R M I N D A N D B O DY

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The Minnesota Opera Fund

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

Platinum Mrs. Judson BemisMary and Gus BlanchardJudy and Kenneth DaytonDolly J. FitermanJohn and Ruth HussHeinz and Sisi HutterThe Art and Martha Kaemmer Fund of

HRK FoundationPeter J. KingConstance and Daniel KuninPatricia LundThomas and Barbara McBurneyMr. and Mrs. Walter S. MeyersMrs. George T. PennockMary W. Vaughan of

The Minneapolis Foundation

Gold AnonymousMary A. AndresAugust J. Aquila and Emily HaliziwKaren BachmanDavid Hanson and

William BiermaierMr. and Mrs. James BingerRod and Susan Boren Darlene J. and Richard P. Carroll Sally J. EconomonRolf and Nancy EnghN. Bud and Beverly Grossman FoundationAlfred and Ingrid Lenz HarrisonBryce and Paula JohnsonLucy Rosenberry JonesMichael F. and Gretchen S. KellyWarren and Patricia KellyEd and Pat KeransDiana and Joe MurphyMrs. John M. Musser†

Bruce and Sandy NelsonTimothy and Gayle OberJose Peris and Diana GuldenRebecca Rand and

E. Thomas BingerConnie and Lew RemeleMr. and Mrs. Steven RothschildFred and Gloria SewellVirginia L. and Edward C. StringerGregory C. SwinehartTanrydoon Fund of

The Saint Paul FoundationC. Angus and Margaret Wurtele

Silver Anonymous John Andrus, IIIMartha Goldberg Aronson

and Daniel AronsonMartha and Bruce AtwaterPatricia and Mark BauerJoseph and Judy CarlsonWilliam Voedisch and

Laurie CarlsonRachelle Dockman ChaseBurt and Rusty CohenDr. James E. and Gisela CorbettEllie and Tom Crosby, Jr.Rondi Erickson and Sandy LewisMr. and Mrs. John ForsytheConnie Fladeland and Steve FoxLeslie and Alain FréconR. Thomas Greene, Jr.Stephen and Patricia HaynesJay and Cynthia IhlenfeldGerald JohnsonStan and Jeanne KaginLyndel and Blaine KingMrs. James S. Kochiras

Mr. and Mrs. Ted KolderieLynne LooneyLeland T. Lynch and Terry Saario Fund of

The Minneapolis FoundationRoy and Dorothy Ann MayeskeHarvey T. McLainMary Bigelow McMillanRobb and Lynne MorinNelson Family FoundationWilliam and Barbara PearceMarge and Dwight PetersonLila and Bruce PriebeLois and John RogersE. Elaine and Roger SampsonKay Savik and Joe TashjianFrank and Lynda SharbroughRenate M. SharpKevin and Lynn SmithCharles Allen Ward Fund of

The Saint Paul Foundation

Bronze Anonymous (2)Eric and Donna AanensonChloe D. AckmanCordelia Anderson and

John HumlekerAn anonymous gift from a donor advised

fund of The Saint Paul FoundationMr. and Mrs. Edmund P. BabcockMr. and Mrs. Paul G. BoeningRalph and Kathleen CadmusElwood F. and Florence A. CaldwellSusan Cogger and Terry WilliamsDavid and Jane CooperDr. Susan and Richard CrockettMrs. Thomas M. Crosby, Sr.Mary Lee and Wallace Dayton

Cy and Paula Decosse Fund of The Minneapolis Foundation

Lori and Tom FoleyBradley A. Fuller and Elizabeth LincolnChristine and W. Michael GarnerMr. and Mrs. R. James GesellIeva GrundmanisRosalie He∂elfinger Hall Fund of

The Minneapolis FoundationDon and Arlene HelgesonCli∂ton K. Hill and Jody RockwellDorothy J. Horns, M.D. and

James P. RichardsonElizabeth A. HueyJacqueline Nolte JonesMr. and Mrs. William KlingJerry and Joyce LillquistBenjamin Y. H. and Helen C. LiuDavid MacMillan and Judy Krow

James and Judith MellingerTom Murtha and Stephanie LenwayAlbin and Susan NelsonSusan OkieMr. and Mrs. William PhillipsKim and John PuckettNorm Rickeman and Kathy MurphyBurton G. Ross and

Cynthia Rosenblatt Ross Fund of The Minneapolis Foundation

Mr. and Mrs. John C. RowlandLucy and Mark SearlsStanislaw and Krystyna SkrowaczewskiJames V. and Susan W. SullivanMichael SymeonidesMr. and Mrs. George H. TesarCatie Tobin and Brian Naas†deceased

Benefactors Anonymous Kim A. AndersonPaula A. AndersonDr. Thomas and Ann BagnoliAmy and Ford Watson Bell in honorof Elinor W. Bell

Thomas L. and Joyce E. BrucknerDr. and Mrs. Jim BurdineJoann M. D. CierniakJe∂ and Barb CoutureThe Denny Fund of The Minneapolis Foundation

Thomas and Mary Lou Detwiler

Mr. and Mrs. Carl B. Drake, Jr.Joyce and Hugh EdmondsonEster and John FeslerHenry and Anice FleshPatricia R. FreeburgLois and Larry GibsonMr. and Mrs. John F. GrundhoferCharlotte KarlenErwin and Miriam KelenMary L. Kenzie Family FoundationE. Robert and Margaret V. Kinney

Fund of The Minneapolis FoundationLisa C. KochirasMaria KochirasHelen L. Kuehn

Clinton and Judith LeeIlo and Margaret LeppikBill LongThornton LyfordDan and Sue MalinaMargery MartinSamuel D. and Patricia McCullough

Mary McDiarmidMrs. John H. MyersAllegra ParkerKaren B. PaulJodi and Todd PetersonFrances and George ReidKen and Nina Rothchild

Je∂rey Scherer and Lea BabcockDr. and Mrs. Richard J. SchindlerMahlon and Karen SchneiderRalph S. Schneider and Margaret McNeil

Stephanie SimonHelene and Je∂ SlocumJulie Jackley SteinerDon and Leslie StilesLois and Lance ThorkelsonBill Venne and Douglas KlineEllen and Fred WellsNancy and Ted Weyerhaeuser

Corporations and Foundations

Individual Donors

Platinum3MAid Association for Lutherans/

Lutheran BrotherhoodAmerican Express Minnesota

Philanthropic Program on behalf ofAmerican Express Financial Advisorsand American Express Travel RelatedServices Co.

Andersen FoundationBlandin FoundationThe Bush FoundationThe Cargill FoundationDeloitte & Touche

Deluxe Corporation FoundationEcolab FoundationGeneral Mills FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable

FoundationHoneywell FoundationThe MAHADH Fund of HRK

FoundationThe McKnight FoundationMarshall Field’s Project ImagineThe Medtronic FoundationThe Andrew W. Mellon FoundationMinnesota Monthly

Minnesota State Arts BoardNorthwest Airlines, Inc. FoundationReliaStar Financial CorporationRider, Bennett, Egan and ArundelSkyway Publications, Inc.The St. Paul CompaniesTarget Stores, Marshall Field’s and

Mervyn’s with support from theTarget Foundation

TranstopTwin Cities Opera GuildU.S. Bancorp Piper Ja∂ray Foundation

on behalf of U.S. Bancorp PiperJa∂ray

U.S. BankWells Fargo Foundation on behalf of:

Wells Fargo Bank MinnesotaWells Fargo Brokerage ServicesWells Fargo InstitutionalInvestments Lowry HillWells Fargo Private Client Services

West Group

GoldADC Telecommunications, Inc.Bemis Company FoundationDorsey & Whitney Foundation

Individual Donors: The Camerata Circle

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The Minnesota Opera FundCorporations and FoundationsErnst & YoungR. C. Lilly FoundationMcGladrey & Pullen, LLPMcNeely FoundationMoss & BarnettNational City BankAlice M. O’Brien FoundationPricewaterhouseCoopers LLPRahr FoundationRobins, Kaplan, Miller & CiresiSpencerStuartStar Tribune FoundationValspar FoundationXcel Energy Foundation

SilverThe Bayport FoundationBest Buy Children’s Foundation

Boss FoundationChadwick FoundationDellwood FoundationDigital Excellence Inc.Mary Livingston Griggs and Mary

Griggs Burke FoundationThe Nash FoundationThe Casey Albert T. O’Neil FoundationRBC Dain Rauscher FoundationMargaret Rivers FundSchwegman, Lundberg, Woessner &

Kluth, PASit Investment AssociatesTennant FoundationSchool Arts Fund of United

Arts/COMPASU.S. Trust CompanyWenger Foundation

Bronze Faegre & BensonHogan & HartsonHutter Family FoundationLeonard, Street & DeinardMayo FoundationMcVay FoundationMinnesota Mutual FoundationLawrence M. and Elizabeth Ann

O’Shaughnessy Charitable IncomeTrust in honor of Lawrence M.O’Shaughnessy

The Jay and Rose Phillips FamilyFoundation

The Elizabeth C. Quinlan FoundationSt. Croix FoundationCharles B. Sweatt Foundation

Tilka DesignTozer FoundationWalcro Inc.

BenefactorsAlliance Capital ManagementElmer L. and Eleanor J. Andersen

FoundationAthwin FoundationAvedaBrock-White Co., LLCKPMG LLPMarsh USA, Inc.Miller Meester AdvertisingThe Ritz FoundationThe Southways Foundation

These lists are current as of March 31, 2002, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since January 1, 2001. If your name is not listed appropriately, please accept our apologies, and call Bill Venne, Development Director of The Minnesota Opera, at 612-342-9565.

Minnesota Opera SponsorsSeason SponsorU.S. Bancorp Piper Ja∂ray

Gala Dinner SponsorEcolab

Production SponsorsLucia di Lammermoor, U.S. Bancorp Piper Ja∂ray

La clemenza di Tito, American Express MinnesotaPhilanthropic Program

La bohème, Marshall Field’s Project Imagine

Little Women, RBC Dain Rauchser

Camerata DinnersRider, Bennett, Egan & Arundel

Opera Insight LecturesSpencerStuart

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Coming Up: The 2002-2003 Season

Season Tickets Available Now!

Call 612-333-6669