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Treat cancer right.

The Schubert Clubpresents the Third Annual

Saint Paul Summer Song FestivalJune 9–17, 2006

www.schubert.org

William Bolcom & Joan Morris

McKnight Theatre, Ordway Center for the Performing Arts

The Schubert ClubMAUD MOON WEYERHAEUSER SANBORN

International Artist Series2006-2007

Anne-Sophie Mutter, violinNovember 8, 2006

Lise de la Salle, pianoJanuary 26, 2007

Frederica von Stade, mezzo-sopranoSamuel Ramey, bass-baritoneFebruary 28, 2007

Emanuel Ax, pianoMarch 21, 2007

Karita Mattila, sopranoApril 25, 2007

Concerts at 8:00 PM • Ordway Center for the Performing Arts, Saint Paul

Season Tickets: $150 • $125 • $105 • $85 $40 Student

Call The Schubert Club at 651-292-3268

Karita Mattila

Christopher Maltman, baritoneFriday, June 9

Joan Morris, mezzo-soprano, & William Bolcolm, pianoSaturday, June 10

Song Picnic on Raspberry IslandSunday, June 11

Maria Jette & FriendsMonday, June 12–Thursday, June 15

Ingmar Bergman’s The Magic FluteWednesday, June 14INTRODUCED BY HÅKAN HAGEGÅRD

The Rose EnsembleFriday, June 16

Jennifer Larmore, mezzo-sopranoSaturday, June 17

Ph

oto: Lau

ri Erik

sson

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Contents

The Minnesota OperaPresident & CEO Kevin Smith

Artistic Director Dale Johnson

Chair, Board of Directors J. A. Blanchard, III

The Minnesota Opera, 620 North First Street

Minneapolis, MN 55401 (612) 333-2700

www.mnopera.org

The Minnesota Opera

is a member of OPERA America.

The Minnesota Opera Programis published by

Corporate Administrator/Publisher Todd HydeAssoc. Publisher/Director of Production Marsha Kitchel

Senior Account Executives Liesl Hyde, Yvonne Christiansen Creative Designer Stacy Hawkins

Production Designers Sue Sentyrz Klapmeier,Robert Ochsner, Jennifer Webb

Large-print and Braille programs are available at the Patron Services O∑ce

The Minnesota Opera Sta∂ and Volunteers . . . . . . . . . . . . . . . . . . . . 6

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

Don Giovanni. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Background Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Coming up: Orazi & Curiazi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

The Minnesota Opera Chorus and Orchestra. . . . . . . . . . . . . . . . . . 22

Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . 23

Opera Season Announcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . 28

Mozart Mania . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

2005-06 Season Finale

Pen Pals is a presentation of theLibrary Foundation of Hennepin

County, working to support excellentservices and innovative programs at a Hennepin County Library near you.

Anchee MinBest selling novelist and

memoirist, her bookRED AZALEA was named a

New York TimesNotable Book of 1994.

April 5 7:30 pmApril 6 12 noon

Series Sponsor

To order subscriptions and tickets:

651-209-6799www.uptowntix.com

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. This project is

supported in part by a grant from the National Endowment for the Arts.

March 2006

Welcome to today’s production of DonGiovanni. For more than four decades TheMinnesota Opera has enriched the culturallife of our community by producingoutstanding and innovative operas thatinspire and entertain.

U.S. Bank is honored to sponsor the 2005– 2006 season. We are proud of our 20+year relationship with The Minnesota Operaand of our sponsorship at this great settingof the Ordway in St. Paul.

At U.S. Bank, we support great dreams,great art and great arts organizations. Theyenrich the community with vibrancy,creativity and excellence. As the sixthlargest bank in America today, U.S. bank isthe only major bank headquartered inMinnesota, and we’re deeply committed togiving back in this community.

Thank you for coming and enjoy theperformance.

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

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Minnesota Opera SSttaaffffPresident & CEO Kevin SmithArtistic Director Dale Johnson

ArtisticArtistic Administrator . .Roxanne Stou∂er CruzArtistic Associate . . . . . . Floyd AndersonCommunity Education Director . . . . . . . . .

Jamie AndrewsDramaturg . . . . . . . . . . . . . David SanderProduction Stage Manager . . . Alex FarinoAssistant Stage Managers . . . . .Angie Spencer,

Casey MartinHead of Music . . . . . . . . . . .Bruce StasynaResident Artists . . . . . . .Raymond Ayers,

Korey Barrett, Alison Bates, Theodore Chletsos, Jamie-Rose Guarrine,Seth Keeton, Peter Kozma, Bryan Lemke,

John Michael Moore, Edward MoutRAP Faculty . . .Allysum Tai Chi Center,

Nancy Boler, Stephano Marazana, Peter Robinson

Teaching Artist . . . . . . . . .Angela KeetonProject Opera Apprentices . . .Setara Barukzoy,

Erin Marie Capello, Kyle De Graff, Daniel Segura

Project Opera Director . . . . . . . Dale KruseProject Opera Accompanists . . . . . . . . . . . .

Kathy Kraulik, Julian Ward

CostumesCostume Director . . . . . . . .Gail BakkomAssistant Costume Director . . .Beth SandersDrapers . . . . . . .Chris Bur, Yancey Thrift,

Angela Yarbrough Costume Technicians Helen Ammann,

Sarah Bahr, Jennifer Dawson,Mary Farrell, Amy McClure,

Christine Richardson, Stephanie VogelPainter/Dyer . . . . . . . . . .Marliss JensenWig/Makeup Designer . .Charles LaPointe,

Tom WatsonWig/Makeup Assistants . . . . . . Ashley Ryan,

Nina Stewart

SceneryTechnical Director . . . . . . . . . . . Mike McQuistonAsst. Technical Director/

Lighting Coordinator .Marc D. JohnsonProduction Administrative

Assistant . . . . . . . . . . . . . Kathryn CattrysseProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongProduction Carpenter . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . Eric VeldeyCharge Painter . . . . . . . . . . .Debra JensenPainter . . . . . . . . . . . . . .Cate Whittemore

AdministrationFinance Director . . . . . . . . . . Je∂ CoutureOperations/Systems

Manager . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . Jennifer ThillExecutive Assistant . . . . . Theresa MurrayReceptionist/Finance Assistant . .Jill Pawelak

Institutional AdvancementVice President of InstitutionalAdvancement . . . . . . . . . . .Patrick DewaneInstitutional Advancement Assistant . . . . . . . . . . . . .Kelly Clemens

DevelopmentDirector of the Annual Fund . .Dawn LovenInstitutional Gifts Director . . Linda JohnsonInstitutional Gifts Associate . . .Emily SkoblikIndividual Gifts Associate . .Megan Stevenson

Marketing/CommunicationsMarketing Director . . . . . . . . . . .Carl LeeCommunications Director . . . Lani WillisTicket O∑ce Manager . . . . Andrea CorichMarketing and

Communications Assistant . .Janet BertokTicket O∑ce Assistant . . . .Carol Corich

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

Catherine AhernAnn AlbertsonElizabeth Incremona

BanckerGerald BensonJim Brownback*Sue BrownbackSarah BurmanChristine BussJerry CassidyDiane ChoihJoann CierniakSusan CoggerCaroline CoopersmithBeverly Dailey*Denis DaileyJeanette DaunTimothy DavisLee DrawertJudith DuncanSally EconomonSvea ForsbergChristopher FosterHazel FrancoisLi-Jun FuJane FullerJoan Gacki*

Alex GarayChristine A. Garner*Juhi Gupta-GulatiMark GustinMary E. HagenMark HahnLucinda HalletMerle J. HansonJohn Harris*Cari Beth HeadAnne HesselrothHeather HuberAlisandra JohnsonKaren JohnsonNancy JohnsonSteve JohnsonJeannie JohnstonKristen JohnstonRobin KeckDawn KlassenShannon KloneckiEleanore KolarLucinda LamontShirley LarsonMathilda LienJerry LillquistJoyce Lillquist

Maura LoMonicoAbby MarierMargery MartinJoan MasuckYasuko MatsumotoMary McDiarmid*Beth McGuireVerne MelbergJeanette MiddletonIrma MonsonBarbara MooreDoug MyhraDenise NicholsPam NielsenDavid NifoussiJennifer OrtaleCandyce OsterkampDan PanshinPat PanshinMegan PelkaHolly PetersonBill PhillipsSydney PhillipsJulia PorterCarol PurvisKathleen RileyShannon Robinson

Leigh RoethkeJohn RosseEnrique RotsteinFlorence RuhlandJohn SauerLynette SaucierMichael SilhavyWendy SilhavyAngie SolomonWendi SottNaomi St. GregoryKaren St. JohnKatie SteermanHarry SwepstonDave TerwilligerEmily ThompsonDoris UngerStacey VonderhearCarolyn WahteraMary WeitzBarbara Willis*Elizabeth Cutter WilsonKathie WojtkiewiczEve Yang

*Lead volunteer

Cafe,Bakery,Wine & Pizza Bar

850 Grand Avenue,St Paul 55105651-224-5687 www.cafelatte.com

Keri Picket

Officers

J. A. Blanchard III, Chair

Jane M. Confer, Stephanie Simon, Vice Chairs

Lynne E. Looney, Secretary

Thomas J. Foley, Treasurer

Kevin Smith, President & CEO

Directors

Welcome to the

second production

of our season. This

marks the halfway

point of our 2005-

2006 season, but

on March 16 we

will announce our

2006-2007 season.

You are invited to join us for the

unveiling of what I feel will be one of

our strongest, biggest and best seasons

yet. An invitation for you appears on

page 24. Although we can’t announce

the offerings, I can tell you that it will

feature a world premiere that we com-

missioned, two company premieres, an

opera you haven’t seen here in a

decade, and an irresistible favorite.

We do expect to sell out, and the best

way to make sure you don’t miss a beat

is to subscribe to the entire season. A

hidden benefit to holding season

tickets is that it is the most flexible

way to attend the opera – if you can’t

attend the performance you subscribed

for, we will exchange your ticket for

another performance at no cost.

Enjoy the performance – we look for-

ward to seeing you for Orazi & Curiazi,

our Bel Canto offering, in April.

Welcome to our

new production of

Mozart’s Don

Giovanni.

This is the first

time in a decade

we’ve staged this

opera, which many

describe as “the perfect opera.” When a

creative team is assembled to produce

an old favorite like this, we need to

reexamine it, reabsorb its messages,

and redefine how it will look onstage.

Patrick Mailler, director and designer

for this production, sees the character

of Don Giovanni as a bold individual,

flying in the face of social norms and

being true only to himself. He feeds

his lust with whatever (or whomever)

poses the greatest challenge, whether

that means seducing a peasant on her

wedding day or posing as his own

servant to woo a noblewoman’s maid.

In The Minnesota Opera’s new

production, the single set is raked at

an angle, side-to-side, and present

through the entire show. Its classical

lines reflect Mozart’s era, but the

structures are crumbling, representative

of Don Giovanni’s moral decay. It is as

though the walls were “built” in

Mozart’s time and have fallen into

disrepair over many years, bringing us

up to the early 20th-century costumes.

Mailler chose to follow Mozart’s

tradition of costuming the opera

visually in an era contemporary to the

audience (in Mozart’s time, impresarios

would have used opera sets and

costumes from their own period),

while at a remove of nearly a century,

as a way to help us relate to the

characters. The early 20th-century

profile of the costuming was chosen

because it is the last period in which

social status distinctions (which play

such a role in Don Giovanni) of dress

are obvious. The opera production will

also feature wonderful special effects.

Enjoy the opera!

Dale Johnson

Artistic Director

Board ooff Directors

Nicky B. Carpenter

Richard P. Carroll

Susan J. Crockett

Mary A. Dearing

Sara Donaldson

Chip Emery

Rolf Engh

Brad F. England

Denver Gilliand

Sharon Hawkins

Karen L. Himle

Ruth S. Huss

Heinz F. Hutter

Paula R. Johnson

Lucy Rosenberry Jones

Michael F. Kelly, Jr.

B. John Lindahl

Becky Malkerson

Tom McBurney

Diana E. Murphy

Brian E. Palmer

Debra Paterson

Jose Peris

Elizabeth Redleaf

Connie Remele

Mitchell Stover

Virginia Stringer

Catie Tobin

H. Bernt von Ohlen

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Notes ffrroomm the Leadership

from the Artistic Director

from the President

(†) Deceased

Directors Emeriti

Karen Bachman

Burton Cohen

Julia W. Dayton

Mary W. Vaughan

Honorary Directors

Dominick Argento

Philip Brunelle

Elizabeth Close

Dolly Fiterman

Charles C. Fullmer

Norton M. Hintz

Donald W. Judkins

Liz Kochiras

Jevne Pennock (†)

Patricia H. Sheppard

Legal Counsel

James A. Rubenstein, Moss & Barnett

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ordway.org

at ORDWAY CENTER

Now - May 21Ordway Center Late Nite Catechism 2Sister is back! Sister takes the stage in the long-awaited sequel to the smash off-Broad-way comedy hit! McKnight Theatre $20 - $30

Now thru March 19Ordway Center Golda’s BalconyA riveting portrait of Golda Meir, and the latest work from Tony Award® winning playwright William Gibson. Starring four time Emmy Award winner Valerie Harper. Main Hall $28 - $48

Fri, Mar 31, 8pm; Sat, Apr 1, 8pmThe Saint Paul Chamber Orchestra Handel’s Israel in Egypt with VocalEssenceNicholas McGegan, conductorChristine Brandes, sopranoMichael Chance, countertenorJohn McVeigh, tenor Deric Craig, bass baritoneMichael Jorgensen, bass baritone

April 8, 9, 11, 13, 15The Minnesota Opera Orazi & Curiaziby Saverio MercadanteAmerican Premiere of bel canto masterworkMain Hall $32 - $120

Fri, April 21, 8pmThe Saint Paul Chamber Orchestra Jazzed-Up Fridays Abbado conducts MozartRoberto Abbado, conductor

Fri, April 21, 10:30am; Sat, April 22, 8pmThe Saint Paul Chamber Orchestra Mozart’s Final SymphoniesRoberto Abbado, conductor

Sun, April 23, 5pmplanet Ordway® TARGET® Season TangosCarlos Diaz’s renowned production will wow audiences using music, dance, and song, offering an exciting look at the Tango’s colorful, f lamboyant history from turn-of-the-century Buenos Aires bordellos to its acceptance in high society. Main Hall $20 - $26

Thurs, April 27, 8pmThe Schubert Club Leif Ove Andsnes, piano

Fri, April 28, 8pm; Sat, April 29, 8pmThe Saint Paul Chamber OrchestraThe Minnesota Chorale performing selections by MozartRoberto Abbado, conductor Layton James, organ

Sun, April 30, 5pmplanet Ordway® TARGET® Season San Jose TaikoInspired by traditional Japanese drumming, company performers express the beauty and harmony of the human spirit through the voice of the taiko.Main Hall $20 - $26

In 2005 the College of St. Catherine set a fundraising record for a women's Catholiccollege, raising over $85 million. These generous gifts will improve our facilities,support our faculty, and provide more financial aid than ever before.

6 5 1 - 6 9 0 - 8 6 8 8 • w w w. s t k a t e . e d u

You come to pursue your dreams.

You leave ready to real ize them.

Don Giovanni by Wolfgang Amadeus Mozart; edited for the New Mozart

Edition (Neue Mozart-Ausgabe) by Wolfgang Plath and Wolfgang

Rehm; by arrangement with Bärenreiter, publisher and copyright owner.

The appearances of Kyle Ketelsen, winner, Seth Keeton, national finalist,

Alison Bates, Patrick Carfizzi, John Michael Moore and Erin Wall, regional

finalists, and Theodore Chletsos, Jamie-Rose Guarrine and Edward Mout,

district finalists of the Metropolitan Opera National Council Auditions,

are made possible through a Minnesota Opera Endowment Fund estab-

lished for Artist Enhancement by Barbara White Bemis.

Performances of Don Giovanni are being taped for delayed broadcast on

Minnesota Public Radio, KSJN 99.5 in the Twin Cities.

The Minnesota Opera season is sponsored by U.S.

Bank, Private Client Group.

The appearances of the 2005–2006 season

conductors are underwritten by SpencerStuart.

Opera Insights is sponsored by Thrivent Financial

for Lutherans.

The 2005–2006 season Camerata Circle Dinners

are sponsored by U.S. Trust.

Intermission reception sponsored by Lowry Hill

Private Wealth Management.

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Music by Wolfgang Amadeus MozartLibretto by Lorenzo da Ponte

World premiere at the National Theater, PragueOctober 29, 1787

March 4, 5, 7, 8, 9, 10, 11 and 12, 2006Ordway Center for the Performing Arts

Sung in Italian with English captions

Costume sketch by Patrick Mailler

Conductor . . . . . . . . . . . . . . . . . . . . . . . . Xian ZhangStage Director . . . . . . . . . . . . . . . . . . Patrick MaillerSet Designers . . . . . . . . . . . . . . . . . . Patrick Mailler,

Maria Rosaria TartagliaCostume Designer. . . . . . . . . . . . . . . . Patrick MaillerLighting Designer. . . . . . . . . . . . . . . . Marcus DilliardWig Master and Makeup . . . Tom Watson & AssociatesAssistant Director . . . . . . . . . . . . . . . . . Peter KozmaChorusmaster . . . . . . . . . . . . . . . . . . . Bruce StasynaContinuo . . . . . . . . . . . . . . . . . . . . . . . Bruce StasynaProduction Stage Manager . . . . . . . Alexander FarinoEnglish Captions . . . . . . . . . . . . . . . . . . Dale Johnson

The CastDon Giovanni, a licentious nobleman . . .Kyle Ketelsen*

Tómas Tómasson**

Leporello, his servant . . . . . . . . . . . .Patrick Carfizzi*

Seth Keeton**

Il Commendatore . . . . . . . . . .Christopher DickersonDonna Anna, his daughter . . . . . . . . . . . . .Erin Wall*

Karin Wolverton**

Don Ottavio, her betrothed . . . . . .Theodore Chletsos*

Edward Mout**

Donna Elvira, a lady from Burgos . . . .Patricia Risley*

Lauren McNeese**

Zerlina, a peasant girl . . . . . . . .Jamie-Rose Guarrine*

Alison Bates**

Masetto, betrothed to Zerlina . . . . . .Raymond Ayers*

John Michael Moore**

Peasants, servants, demons

Setting: Seville* performs March 4, 7, 9, 11

** performs March 5, 8, 10, 12

Don Giovanni is sponsored by

The success of Wolfgang Amadeus Mozart’s decade in

Vienna was marginal at best, in part due to his

hesitation to understand the tastes of his audience. The

Abduction from the Seraglio was a good first attempt – a

rescue opera with Occidental overtones was very much in

vogue – but the complexity of his music may have baffled

many opera patrons. Then there was the ill-fated premiere

of The Marriage of Figaro, which achieved only nine

performances during its initial run. The composer might

have taken his cue

from the opera that

drove it from the

stage, Vincente

Martín y Soler’s enor-

mously popular Una

cosa rara (1786). Free

of Figaro’s political

overtones, the emi-

nently fluffier essay

on love (the rare thing

being a woman’s con-

stancy) should have

shown him what the

Viennese were all

about. Other lighter

comedies in the same

vein, such as the subsequent L’arbore di Diana (1787) and

Antonio Salieri’s La grotta di Trofonio (1785) eventually

guided him to composing a more suitable work for the

Viennese stage, Così fan tutte – unfortunately, the death of

Joseph II in 1790 closed the show down after only five per-

formances. Again, timing had not been in Mozart’s favor.

The work in between is perhaps the most perplexing

choice. Though Figaro had failed in Vienna, it prospered in

Prague, the empire’s eastern capital, the following year,

inciting the Nationaltheater’s impresario Pasquale Bondini

to commission a new work. The opera was in part to cele-

brate the impending visit of Joseph’s oldest niece and

nephew, his parents’ namesakes Maria Theresa and Francis

(later to become emperor), the former passing through from

Florence to marry into a political union with the Prince of

Saxony. It is unclear who suggested the legend of Don Juan

as a potential topic. It may have been Bondini, who already

knew the popularity of this particular tale with Prague

audiences. Or it could have been Figaro (and later Così)

librettist Lorenzo da Ponte (he has since claimed the credit

in his somewhat unreliable memoirs), who was aware of an

extant libretto by arch-rival Giovanni Bertati, set by

Giuseppe Gazzaniga only a few months earlier and

premiered to an enthusiastic Venetian audience. Da Ponte

was pressed for time, as he was committed to two other

composers, Salieri (for an Italian revision of his French

opera Tarare, to become Axur, re d’Ornus) and Martín y Soler

(for Arbore).

Da Ponte managed to flesh out Bertati’s one-act farse

into a substantial two-act drama. Act I follows fairly

closely, though da Ponte dispenses with yet another woman

ready for conquest, Donna Ximena. He also deletes a snip-

ing duet between

Donna Elvira and

Maturina (later Zerli-

na) but maintains

Pasquarello’s (later

Leporello) catalogue

number (in this case a

duet), and adds a

party scene at

Giovanni’s house to

spice up the ending of

Act I. For Act II he

introduced new mate-

rial (the exchanging

of cloaks and the

wooing of Elvira’s

maid) yet again bor-

rows the beating of Biagio/Masetto before getting to the

Commendatore’s mausoleum, which begins Bertati’s Part

Two. The rest of da Ponte’s libretto plays out much like

Bertati’s, as both works conclude with a vaudeville sung by

the remaining principals (save Donna Anna, who is doubly

played by a servant, Lanterna, in Bertati’s version). Yet, da

Ponte’s version ends up dramatically flawed in its disjointed

nature and slightly graver tone due to a generous mixing of

seria and buffa characters.

Composition largely took place in Vienna, with

Mozart finishing the final numbers in Prague once he

became acquainted with the company of singers. The

premiere was delayed two weeks (due to the additional

rehearsals demanded by the complexity of the recitatives),

with the royal family having to be entertained by a revival

of indefatigable Figaro. Nonetheless, the October 29

premiere was a huge success and Don Giovanni rivaled

Figaro in Prague’s esteem.

Vienna was another story. Again plagued by shortsight-

edness, Mozart should have known that Don Juan was not a

good choice for the emperor’s Burgtheater, the sacred

ground of good taste. Though Gluck’s pantomime-ballet to

the story had held sway just two decades before, theatrical

11•

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by David Sander

Background Notes continue on page 12

Background NNootteess

The Minnesota Opera’s 1996 production of Don Giovanni.

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Background Notes continued from page 11

life under Joseph’s absolute control delegated such a low-

born theme to the suburban theaters, where dramatic incon-

gruities were tolerated and slapstick humor much appreciat-

ed (The Magic Flute serves as one example). The baser, less

cosmopolitan Prague audiences hardly cared, but the Vien-

nese premiere on May 5, 1788 was not a success, as Joseph

would famously encapsulate the opera to be “not the meat for

the teeth of my Viennese.” Reportedly, the impish young

composer had sharply retorted that the emperor’s burgers

would simply need a little more time to “chew on it.”

Mozart would not see a revival there during his lifetime

– the next mounting at the imperial theaters didn’t occur

until 1798 – but Don

Giovanni began to make

its way in the provinces,

first as a Singspiel (with

spoken German dia-

logue) at the suburban

Theater auf der Wieden

the year after Mozart’s

death. In Italy, the opera

progressed slowly due to

its hybrid mixture of

comic and tragic. It

appeared in Rome in

1811 and at La Scala

three years later. Paris

saw the work first in

French at the Opéra in

1805 (freely adapted

with the addition of a

few more musical num-

bers), then in its original language directed by Gaspare

Spontini at the Théâtre-Italien in 1811. Don Giovanni’s

New York premiere was performed by the famous García

family in a production directed by da Ponte himself (the

librettist had since relocated). Stürm und Drang authors

such as Goethe and Hoffmann emulated the opera, and its

supernatural tendencies excited artists of the Romantic

era. For much of the 19th century, Don Giovanni surpassed

even The Marriage of Figaro in popularity.

On its face, Don Giovanni’s musical language is similar

to that of Figaro, with a plentitude of arias, ensembles and

chain finales. Structurally, the rather haphazard sequence

of scenes has a more determined order than one might

think when the two acts are viewed side-by-side –

Leporello opens each act (the second beginning with

requisite recitativo secco), and the position of Anna’s rape

versus Elvira’s deception are followed by episodes in each

act with Masetto, Giovanni and Zerlina. Then there is a

wild mix of emotions and persons to be sorted out by a

quartet in Act I and a sextet in Act II. Both acts finish up

at Giovanni’s palace in the consumption of food and drink

and conclude in full ensemble. Part of the confusion

regarding the opera was its categorization. Figaro clearly

falls in the category of opera buffa, but Don Giovanni has

been doubly described by its creators as an opera buffa and

a dramma giocoso. The latter designation was reserved for a

genre that was essentially comedy, but included a few

more sober moments. A dramma giocoso could feature

serious parts, such as Donna Anna, Don Ottavio, Donna

Elvira (though she is at times satired) and the

Commendatore (his severity made abundantly clear in the

opera’s opening bars, a theme that recurs in the

penultimate scene),

comic parts, which

include Masetto,

Zerlina and Leporello

and mezzo carattere, or

those somewhere in

the middle, such as

Don Giovanni. Mozar

makes these distinc-

tions abundantly clear

at the end of Act I

when the characters

begin to dance: Anna

and Ottavio step to the

courtly minuet, Don

Giovanni and Zerlina

to the bourgeois con-

tredanse and Leporello

and Masetto to the

d o w n - a n d - d i r t y

Deutscher. The composer reveals his genius in his ability to

cause these variously metered dances to be played at the

same time. Another musical invention occurs at nearly the

same position in Act II. As dinner entertainment for the

Don, Mozart carefully chooses famous tunes from three

contemporary operas: a first-act aria from Giuseppe Sarti’s

Fra i due litiganti il terzo gode, an excerpt from the first

finale of Martín y Soler’s Una cosa rara and (in good

company) “Non più andrai” from his own The Marriage of

Figaro. [It should also be noted that Mozart composed

additional music for the Vienna premiere: “Dalla sua pace”

to replace “Il mio tesoro intanto” (the new Ottavio wasn’t

quite up to the challenge); a comic scena and duetto

(“Restati qua … Per queste tue manine”) for Zerlina and

Leporello; and a recitativo accompagnato ed aria “In quali

eccessi, o Numi … Mi tradì qell’alma ingrata” for Elvira

(the new soprano, Caterina Cavalieri demanded a grand

scene to showcase her talents) as well as a few new

recitatives. The original Prague version will be employed

for these performances. ]

Haydee discovers the body of Don Juan (Ford Maddox Brown)

Eric

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act i

Near the home of the Commenda-

tore, Leporello bemoans his lot in

life as servant to Don Giovanni. His

thoughts are interrupted by screams

from Donna Anna, who calls for help as

a disguised Giovanni tries to flee. Her

father, the Commendatore, attempts to

defend her honor in a duel, but is

killed by the lecherous Don, who then

escapes. Don Ottavio also comes to

Anna’s aid and promises to avenge her

father’s death.

Elsewhere, Giovanni spots a new

possibility in the distance, but to his

horror, it is Donna Elvira, a woman he

left behind in Burgos. As Leporello

distracts her, Giovanni again slips

away. His servant bares the bitter truth

– she’s hardly the first to be betrayed as

he rattles off the list of conquered

women, one thousand and three in just

Spain alone.

In the countryside, Zerlina

celebrates her upcoming marriage to

Masetto with a group of peasants.

Giovanni and Leporello soon appear

and the former is entranced by the

country girl. To distract her fiancé and

the others, he offers to celebrate the

nuptials with food and drink at his

mansion nearby. Zerlina remains

behind as Masetto is assured that his

bride-to-be will be safe in the hands of

a gentleman. Giovanni quickly puts on

the charms with a promise of marriage,

which Zerlina momentarily considers.

They are interrupted by Elvira, who

warns the young woman to beware of

his treacherous words.

No sooner has Elvira spirited

Zerlina away does Giovanni happen

upon Anna and Ottavio. They enlist his

assistance in finding the murderer of

her father. Again Elvira intercedes,

professing Giovanni’s true nature. He

discounts her statements as madness

and follows her, feigning concern over

her mental state. Anna suddenly

realizes that Giovanni is her would-be

rapist and her father’s killer. She cries

for vengeance.

At Giovanni’s palace the party is in

full swing. Masetto questions Zerlina’s

fidelity, and when she tries to reassure

him, it is to little avail. Elvira has joined

Anna and Ottavio, and the three of them

arrive at the party masked. As everyone

begins to dance, Giovanni leads Zerlina

into another room. Her screams are soon

heard, and as Giovanni tries to deflect

the blame on Leporello, he is able to

escape once again.

– intermission –

act ii

On a street near the residence of Donna

Elvira, Leporello threatens to quit, but

is appeased by an influx of cash. Tired

of this type of life, he begs Giovanni to

put an end to his wanton pursuit of

women, but the Don counters that to

be faithful to one would mean to deny

the others. His latest quest is the

young and attractive maid of Donna

Elvira. He exchanges cloaks with his

servant to disguise his station.

Leporello is to distract Elvira by posing

as his employer.

Elvira is easily fooled, quite willing

to forget past transgressions, and the

disguised Leporello manages to lead

her away. Meanwhile, Giovanni sings a

serenade to lure the maid, but to no

avail. Masetto enters with a posse of

peasants, intent on capturing the

scurrilous Don. Still dressed as

Leporello, Giovanni manages to divert

the other men, and alone with Masetto,

gives him a sound thrashing. Zerlina

enters and soothes the wounded man.

Meanwhile, Leporello is trying to

lose Elvira in the darkness. Instead they

encounter Anna and Ottavio and soon

after, Zerlina and Masetto. All first

recognize him as Giovanni, and are

hardly any more forgiving once

Leporello’s true identity is revealed. He

begs for mercy, then runs off.

Near a graveyard, Giovanni and

Leporello are reunited. The master

brings his servant up to date – during

their masquerade he was able to seduce

none other than Leporello’s mistress. A

voice interrupts his merriment, and the

two find themselves in front of the

Commendatore’s tomb. Responding to

the inscription, which states that even

in death the old man will have revenge

on the traitor who put him there,

Giovanni callously invites him to

dinner. He accepts.

Elsewhere, Ottavio tries to ease

Anna’s grief with an offer of marriage,

but though she loves him, she will not

be consoled. Back at the palace,

Giovanni enjoys his dinner while

Leporello picks at a few scraps. Elvira

enters and makes one last attempt at

getting the Don to change his dissolute

ways, but he will not be persuaded. On

her way out she is frightened by the

ghost of the Commendatore, who also

strongly advises Giovanni to repent.

The Don is steadfast in his

unwillingness to change and dies as a

result, his soul condemned to hell.

Synopsis

Costume sketches by Patrick Mailler

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WWoollffggaanngg AAmmaaddeeuuss MMoozzaarrttb Salzburg, January 27, 1756; d Vienna, December 5, 1791

Child wonder, virtuoso performer and prolific creative artist,

Mozart is the first composer whose operas have never been

out of repertory. His prodigious talents were apparent very early

in his life; by the age of four he

could reproduce on the key-

board a melody played to him,

at five he could play the violin

with perfect intonation, and at

six he composed his first min-

uet.

A musician himself, Wolf-

gang’s father, Leopold, imme-

diately saw the potential of his

son’s talents. With the mixed

motives of religious piety and

making a tidy profit, Leopold

embarked on a series of concert

tours showing off the child’s

extraordinary talents. Often

playing with his sister Maria

Anna (“Nannerl”), herself an

accomplished musician, young

Wolfgang charmed the royal

courts of Europe, from those of

Austrian Empress Maria

Theresa, French king Louis XV

and English king George III, to

the of lesser principalities of Germany and Italy.

As Mozart grew older, his concert tours turned into a search

for permanent employment, but this proved exceedingly diffi-

cult for a German musician in a market dominated by Italian

composers. Although many of his early operas were commis-

sioned by Milanese and Munich nobles (Mitridate, Ascanio in

Alba, Lucio Silla, La finta giardiniera), he could not rise beyond

Konzertmeister of the Salzburg archbishopric. When the new

prince archbishop, Count Hieronymus Colloredo, was appoint-

ed in 1771, Mozart also found he was released for guest engage-

ments with less frequency. Though his position improved and

a generous salary was offered, the composer felt the Salzburg

musical scene was stifling for a man of his enormous talent and

creativity.

Things came to a head in 1781 immediately after the suc-

cessful premiere of Mozart’s first mature work, Idomeneo, in

Munich. The archbishop, then visiting Vienna, insisted the

composer join him there. Never did Mozart better understand

his position in the household than during that sojourn, when he

was seated at the dinner table below the prince’s personal valets

and just above the cooks. He requested to be permanently dis-

charged from his duties, and after several heated discussions his

petition was granted, punctuated by a parting kick in the pants.

Now completely on his own for the first time, Mozart

embarked on several happy years. He married Constanze

Weber, sister to his childhood sweetheart Aloysia, and pre-

miered a new work, Die Entführung aus dem Serail (The Abduc-

tion from the Seraglio), at the Burgtheater. Mozart also gave con-

certs around Vienna, presenting a number of new piano concer-

tos and symphonies. His chief concern was to procure a position

at the imperial court. A small

commission came his way from

the emperor for a one-act com-

edy, Der Schauspieldirektor (The

Impresario), given in the same

evening as Antonio Salieri’s

Prima la musica e poi le parole

(First the music, then the words),

to celebrate the visit of the

emperor’s sister, Marie Chris-

tine, and her husband, joint

rulers of the Austrian Nether-

lands.

The Marriage of Figaro,

Mozart’s first true masterpiece

for the imperial court, pre-

miered at the Burgtheater in

1786 and went on to Prague

the following year where it was

a huge success. Don Giovanni

premiered in Prague in 1787

to great acclaim, but its Vienna

premiere in 1788 was coolly

received. By this time, Mozart

had received a minor imperial posting, Kammermusicus, which

required him to write dances for state functions. The position

was hardly worthy of his skills and generated only a modest

income, a weighty concern now that debts had begun to

mount. Joseph II commissioned another opera from Mozart,

Così fan tutte, which premiered January 26, 1790. The emperor

was too ill to attend the opening and died the following month.

His brother, Leopold ii, assumed leadership, and Mozart hoped

to be appointed Kapellmeister – instead he merely received a con-

tinuance of his previous position.

Crisis hit in 1791. Constanze’s medical treatments at Baden

and the birth of a second child pushed their finances to a criti-

cal point. Mozart’s friend and fellow Freemason, the impresario

Emanuel Schikaneder, suggested he try his luck with the sub-

urban audiences at his Theater auf der Wieden. Composition of

The Magic Flute began early that summer but had to be halted

when two generous commissions came his way: a requiem for

an anonymous patron (who hoped to pass it off as his own com-

position), and an opera seria to celebrate the new emperor’s coro-

nation as King of Bohemia. La clemenza di Tito premiered Sep-

tember 6, and The Magic Flute was completed in time to open

September 30. The Requiem, however, remained incomplete,

and as Mozart’s health began to fail, the composer feared he was

writing his own death mass. In December Mozart died at the

age of 35 and was given a simple funeral by his impoverished

widow, then buried in an unmarked grave on the outskirts of

Vienna.

Portrait of Mozart at the time of his visit to Prague in 1787

Giraudon/Art Resource, NY

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Theodore ChletsosDon OttavioMinnesota Opera Resident ArtistRecentlyCarmen; Maria Padilla; Madame Butterfly, Minn. OperaVanessa, Central City OperaAmahl and the Night Visitors, Minnesota OrchestraLes contes d’Hoffmann; Student Prince; others, Central City Op.Roméo et Juliette; La bohème, Indianapolis OperaL’elisir d’amore; Roméo et Juliette, Lyric Opera of Kansas CityAriadne auf Naxos; Le trouvère, Sarasota OperaUpcomingOrazi & Curiazi; Elephant Man, The Minnesota Opera

Raymond AyersMasetto

Minnesota Opera Resident ArtistRecently

Hansel and Gretel, Minnesota OrchestraTosca; Nixon in China; Carmen; Maria Padilla,

Madame Butterfly, The Minnesota OperaFiddler; Faust; Susannah; Roméo et Juliette, Chautauqua Opera

Mirandolina; Madame Butterfly; The Seagull,Manhattan School of Music

UpcomingOrazi & Curiazi; The Elephant Man, The Minnesota Opera

Carmen; Hansel and Gretel, Minnesota Orchestra

Patrick CarfizziLeporello

Minnesota Opera DebutRecently

Die Fledermaus, Seattle OperaAriadne auf Naxos; Le nozze di Figaro, Metropolitan Opera

Guillaume Tell, Opera Orchestra of New YorkDon Giovanni; Le nozze di Figaro, Santa Fe Opera

L’italianna in Algeri; Il viaggio a reims, Canadian Opera Co.La traviata; Simon Boccanegra, San Francisco Opera

UpcomingThe Barber of Seville, Opera Theatre of St. LouisManon; Le nozze di Figaro, Metropolitan Opera

Alison BatesZerlinaMinnesota Opera Resident ArtistRecentlyA View from the Bridge; Abduction from the Seraglio; Little

Women; Giulio Cesare, Indiana University Opera TheaterSymphony No. 2; Israel in Egypt, Columbus Indiana Phil.Tosca, Chautauqua Opera (Studio Artist)Gianni Schicchi, MasterWorks Festival (Young Artist)Messiah; Schubert Mass in G, South Bend SymphonyUpcomingOrazi & Curiazi; Elephant Man, The Minnesota OperaGianni Schicchi; The Gondoliers, Chautauqua Opera

Christopher DickersonCommendatore

Minnesota Opera DebutRecently

Un ballo in maschera, Opera Company of PhiladelphiaLa traviata; La sonnambula, Caramoor Festival

La bohème, Florentine Opera; Billings OperaDon Giovanni; La Cenerentola, San Antonio Lyric Opera

Tosca, Fort Worth OperaDoktor Faust, San Francisco OperaCorps of Discovery, Opera Memphis

Madama Butterfly; Samson et Dalila; Un ballo in maschera;La traviata; The Magic Flute, Lyric Opera of Chicago

Jamie-Rose GuarrineZerlinaMinnesota Opera Resident ArtistRecentlyPaul Bunyan; Face on the Barroom Floor;

Madame Butterfly, Central City OperaHansel and Gretel, Opera for the YoungCarmen, Madison Opera; Dr. Miracle, Florentine OperaIphigenia at Aulis; Così fan tutte; Dialogues of the Carmelites;

Lucia di Lammermoor; others, University of WisconsinUpcomingJoseph Merrick, the Elephant Man, The Minnesota OperaSan Francisco Opera Merola Program

The AArrttiissttssFor more biographical information about these artists,

visit our website at www.mnopera.org

Seth KeetonLeporello

Minnesota Opera Resident ArtistRecently

Death in Venice; Lucie de Lammermoor, Glimmerglass Op.Tosca; Carmen; Maria Padilla; Madame Butterfly; Magic Flute; Passion; Lucrezia Borgia; Rigoletto, The Minnesota Opera

La bohème; Roméo et Juliette; Don Giovanni, Chautauqua Op.La bohème; Dead Man Walking; La traviata, Austin Lyric Op.

UpcomingOrazi & Curiazi; Elephant Man, The Minnesota Opera

Jenufa; The Greater Good, Glimmerglass OperaMadame Butterfly; Falstaff, Fort Worth Opera

John Michael MooreMasettoMinnesota Opera Resident ArtistRecentlyTosca, The Minnesota OperaGloriana; Madame Butterfly, Des Moines Metro OperaThe Merry Widow; The Magic Flute; The Seagull;

The Crucible; Carousel; Sweeney Todd; Beethoven Symphony No. 9; Handel Messiah; Elijah; Duruflé Requiem, Simpson College

UpcomingThe Magic Flute, Des Moines Metro OperaOrazi & Curiazi; Elephant Man, The Minnesota Opera

Edward MoutDon Ottavio

Minnesota Opera Resident ArtistTosca, The Minnesota Opera

Falstaff; Eugene Onegin, Indiana University Opera TheaterNorma; Fidelio; Rigoletto; Aida; Faust; Lohengrin;

Macbeth; Verdi Requiem (ensemble), San Diego OperaApprentice Artist – Opera Theatre of St. Louis

Carmina burana; Bach Cantata #191, San Diego Chamber Singers

UpcomingOrazi & Curiazi; Elephant Man, The Minnesota Opera

Santa Fe Opera Apprentice Artist Program

Kyle KetelsenDon GiovanniMinnesota Opera DebutRecentlyHenrik, Royal Opera House – Covent GardenSamson et Dalila; The Magic Flute, Washington OperaFaust, Michigan Opera TheatreCarmen, Opera Theatre of St. LouisUpcomingTosca, Metropolitan OperaDon Giovanni, Gran Teatre del Liceu; Los Angeles OperaLe nozze di Figaro, Royal Opera CG; Opera di GenovaOrlando; Carmen, Royal Opera – Covent Garden

Lauren McNeeseDonna Elvira

Minnesota Opera DebutRecently

The Magic Flute; Carmen; Götterdämmerung; Das Rheingold;Die Walküre; The Cunning Little Vixen; Pirates of Penzance;Faust; Le nozze di Figaro; La traviata; Thaïs; Cavalleria

rusticana; Parsifal; Street Scene, Lyric Opera of ChicagoMidsummer Night’s Dream; Liebeslieder Walzer,

Chicago Symphony Orchestra Rivinia FestivalUpcoming

Le comte Ory, Wolf Trap; Così fan tutte, Lyric Op. of ChicagoDon Carlo; Manon, Los Angeles Opera

Patricia RisleyDonna ElviraMinnesota Opera DebutRecentlyThe Tempest (Adès), Los Angeles PhilharmonicLa Cenerentola; Don Carlo; Carmen, Metropolitan OperaRoméo et Juliette; Giulio Cesare, Houston Grand OperaUpcomingLa Cenerentola, Opera IrelandThe Tempest, Santa Fe OperaLe nozze di Figaro, Arizona OperaAriadne auf Naxos, Utah Symphony & OperaFrau Margo, Fort Worth Opera

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The AArrttiissttss For more biographical information about these artists,

visit our website at www.mnopera.org

Alexander FarinoProduction Stage Manager

Minnesota Opera DebutRigoletto, 1995

RecentlyHansel and Gretel; Candide, Minnesota Orchestra

1996 – 2006 seasons, The Minnesota OperaAcis and Galatea; Central Park; Tosca, Glimmerglass Opera

A Funny Thing Happened on the Way to the Forum,Ordway Center for the Performing Arts

Madame Butterfly, Opera PacificUpcoming

Orazi & Curiazi; The Elephant Man, The Minnesota Opera

Peter KozmaAssistant DirectorMinnesota Opera Resident ArtistRecentlySignor Bruschino (SD); Tosca (AD), The Minnesota OperaLa tragédie de Carmen; The Telephone; Poppea (SD), Univ. of Texas L’Orfeo (SD), Budapest Chamber OperaDon Giovanni; Le nozze di Figaro; L’elisir d’amore; The Magic

Flute (SD), Ars Classica Chamber Opera (Gödölló)Das Rheingold; Le nozze di Figaro; Madame Butterfly,

La Cenerentola; others (AD), Hungarian State OperaUpcomingOrazi & Curiazi; The Elephant Man (AD), Minn. Opera

Erin WallDonna AnnaMinnesota Opera DebutRecentlyThe Magic Flute, Lyric Opera of ChicagoCosì fan tutte, Opéra National de Paris; Aix-en-Provence Fest.Faust, Teatro Municipal (Santiago, Chile)The Ring Cycle; Faust; Parsifal; Street Scene,

Lyric Opera of ChicagoUpcomingFaust, Vancouver OperaCosì fan tutte,,Vienna FestwocheDido and Aeneas, Théâtre du Châtelet

Tómas TómassonDon Giovanni

Minnesota Opera DebutRecently

Pique Dame; The Flying Dutchman, Théâtre de la MonnaiePique Dame, San Francisco Opera

Das Rheingold; Don Carlos; Celan, Oper der Stadt KölnLucia di Lammermoor, Lyric Opera of Chicago

Les Troyens; La clemenza di Tito, Netherlands OperaUpcoming

Alcina, Opéra National de LyonWozzeck, Opéra de Nancy

Pique Dame, De Vlaamse Opera

Karin WolvertonDonna Anna

Minnesota Opera DebutLucia di Lammermoor, 2001

RecentlyLes contes d’Hoffmann; Gloriana; Salome,

Des Moines Metro OperaCarmen; Maria Padilla; The Magic Flute; Passion; Rigoletto; The Handmaid’s Tale; Norma; others, The Minnesota Opera

Les contes d’Hoffmann; The Student Prince, Central City OperaDvorak Te Deum; Amahl, Minnesota Orchestra

UpcomingThe Rake’s Progress, Des Moines Metro Opera

Marcus DilliardLighting DesignerMinnesota Opera DebutTurandot, 1995RecentlyAmerika; The Little Prince; Antigone, Theatre de la Jeune LuneDialogues of the Carmelites, Fort Worth OperaTosca; others, Minnesota OperaUpcomingMefistofele, Jeune LuneThe Miser, The Alley Theater; Berkeley Rep. TheaterAwards2005 Ivey Award; 1998 McKnight Fellowship

MEFISTOFELE MARCH 24-MAY 21TICKETS AVAILABLE NOW AT 612.333.6200

Jeune Lune presents an electrifying opera featuring

BRADLEY GREENWALD, JENNIFER

BALDWIN PEDEN, and CHRISTINA BALDWIN

Recipient of the 2005 Tony Award for Outstanding Regional Theatre

sponsored by

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The AArrttiissttssFor more biographical information about these artists,

visit our website at www.mnopera.org

®

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©2005 Target Stores. The Bullseye Design and Target are registered trademarks of Target Brands, Inc. All rights reserved.

Patrick MaillerStage Director; Set and Costume Designer

Minnesota Opera DebutRecently

Don Carlo, Opera Company of PhiladelphiaLe pauvre matelot; Une éducation manquée, Opera di Lugo

Lo speziale, Teatro de la Maestranza (Seville)Die Königin von Saba; Gianni Schicchi; Die Fledermaus;

The Rake’s Progress; La fanciulla del West, Wexford FestivalLe nozze di Figaro, Châteaux de Chantilly;

Amphithéâtre de l’Opéra National de Paris (Bastille)Pique Dame, The Magic Flute, Amphithéâtre de l’Opéra

National de Paris (Bastille)

Xian ZhangConductorMinnesota Opera DebutRecentlyLa bohème; Don Giovanni; La traviata, Cincinnati OperaGuest Conductor – London, Auckland, China SymphoniesAssistant Conductor – New York PhilharmonicConductor-in-Residence – China Opera HouseConductor – Jin Fan Symphony; Lucca Festival OrchestraUpcomingGuest Conductor – Cincinnati, Colorado, Milwaukee,

San Antonio SymphoniesMusic Director – Sioux Symphony

Maria Rosaria TartagliaSet Designer

Minnesota Opera DebutRecently

Il Signor Bruschino, Teatro Rossini (Pesaro)Le pauvre matelot; Une éducation manquée,

Opera Festival di Lugo (Romagna)Prinzessin Brambilla, Wexford Opera Festival

La sonnambula, Teatro de la Maestranza Siviglia

Bruce StasynaContinuo; ChorusmasterMinnesota Opera DebutDer Rosenkavalier, 2000RecentlyCarmina burana, Avery Fisher HallShakespeare Unplugged, Dallas Art MuseumTosca; Nixon in China; others, The Minnesota OperaFidelio; Beethoven Symphony No. 9, Minnesota OrchestraDie ägyptische Helena, American Symphony OrchestraSweeney Todd; The Barber of Seville; Tito, Wolf Trap OperaUpcomingOrazi & Curiazi; Elephant Man, The Minnesota Opera

With the continued success and phenomenal growth of The Minnesota

Opera’s Resident Artists program, the company needs two used or

new pianos for next season. Please call Kelly Clemens at 612-342-9565 if you

can help. Your gift would be 100% tax deductible, and would help advance

the careers of our young artists.

NEEDED:TwoPianos

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Music by Saverio Mercadante

Sung in Italian with English captions

April 8, 9, 11, 13 and 15, 2006

Ordway Center for the

Performing Arts

For tickets, call 651-224-4222

A Bel Canto love story in the tradition of Romeo and

Juliet, Orazi & Curiazi (The Orazi and the Curiazi)

unveils the tumult of tribal Rome, in which clan

wars create tragic conflicts of loyalties. Mercadante,

who Liszt called “Italy’s most important composer,”

was a notable contemporary of Rossini, Bellini and

Donizetti, and the dramatic innovator who paved the

road for Verdi. Eric Simonson (Bok Choy Variations,

La bohème and The Handmaid’s Tale) directs the Amer-

ican premiere of this rare masterpiece, which stars

three of The Minnesota Opera’s favorite artists:

Brenda Harris, Scott Piper and Ashley Holland.

Coming up: OOrraazzii && CCuurriiaazzii

Brenda Harris as Maria Padilla, 2005. Photo by Michal Daniel.

TBD

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Project Opera

P roject Opera (the Opera’s new

youth opera ensemble) is very

excited to welcome our new

members to Giovani (the ensemble

for students in grades 8-12)!

Starting January 7th, eight young

men joined an already stellar group

of young singers. They join the

group as they prepare for their spring

production of Hansel and Gretel under

the musical direction of Dale Kruse.

Performances of Hansel and Gretel are

slated for May 19th, 20th and 21st at

the Minnesota Opera Center.

Summer CampWe are looking for all talented

singers in grades 7-12 to audition for

Project Opera: Summer Camp 2006.

The second annual camp is set for

July 10th–21st. Over the course of two

weeks, campers will learn a scene,

stage it and present it in two public

concerts. Dale Kruse will serve as

music director with Doug Scholz-

Carlson as stage director.

Auditions for both programs will be

held on April 2, 2006 at the Opera

Center. For more information, please

call 612.342.9573.

Education aatt tthhee Opera

Ragazzi students greet the audience after their performance at the Arden Hills Presbyterian Home.

Proud Publisher of these fine magazines:

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Guthrie Theater Program • Minnesota

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Adult Education OpportunitiesOrazi & Curiazi

March 20, 2006

7:00-9:00 pm, Opera Center

Orazi & Curiazi, Mercadante’s rarely performed gem

from the bel canto era, tells the story in the

tradition of Romeo and Juliet. Eastman School of

Music professor Dr. Melina Esse will take you

through the story and music of this unknown work.

She will speak on the significance of Mercadante’s

large body of works and why Liszt called him “Italy’s

most important composer.”

To register, call 612.342.9575. Cost is $20, $15/donors,

subscribers, YPG and $10/students (with valid ID to be

shown at the door).

American Military Bases TourIn November, members of the Resident Artist Program

traveled to Fort McCoy near Tomah, Wisconsin for a performance

of operatic favorites.

Education aatt tthhee Opera

Join us for this landmark celebration as the Chorus celebrates its25th Birthday! This eclectic program will include stirring piecesfrom the Broadway musical Songs for a New World; the premiereof a new commission by American musical luminary and St. Paulnative, Stephen Paulus; the triumphant Gloria by Randall Basswith organ, percussion and brass choir, a sampling of some of thegreatest pieces to originate from the GLBT choral tradition andmuch, much more!

Dr. Stan Hill,Artistic Director

Joann Usher,Executive Director

Ted Mann Concert Hall

612.624.2345www.tcgmc.org

Thurs. – Fri., March 30 & 31 – 8 pmSat., April 1 – 8 pm

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The Minnesota Opera OOrrcchheessttrraaViolin I Kristen Christensen

concertmaster

Julia Persitz

David Mickens

Allison Ostrander

Judy Thon-Jones

Andrea Een

Violin II Laurie Petruconis

Elizabeth Decker

Stephan R. Orsak

Melinda Marshall

Carolin Kiesel Johnson

Margaret Humphrey

Viola Vivi Erickson

Laurel Browne

Susan Janda

Coca Bochonko

Cello Jim Jacobson

Adriana LaRosa Ransom

Rebecca Arons Goetz

Joe Englund

Bass John Michael Smith

Constance Martin

Flute Michele Frisch

Amy Morris

OboeMarilyn Ford

Merilee Klemp

ClarinetSandra Powers

Nina Olsen

BassoonCoreen Nordling

Laurie Hatcher Merz

HornCharles Kavalovski

Charles Hodgson

TrumpetJohn G. Koopmann

Christopher Volpe

TromboneSue Roberts

Rick Gaynor

David Stevens

TimpaniKory Andry

MandolinChristopher Kachian

Personnel ManagerSteve Lund

The Minnesota Opera CChhoorruussKaren Bushby

Ben Crickenberger

Jennifer Eckes

Andy Elfenbein

Vicki Fingalson

Peter Frenz

Tracey Gorman

Robin Helgen

Ben Johnson

Tor Johnson

Angela Keeton

Brian Kuhl

Eric Mellum

Chandler Molbert

Bill Murray

Matthew Neil

Cathryn Schmidt

Robert Schmidt

Sandra Schoenecker

Bryan Shih

Anne Storlie

Staci Stringer

Joel Swearingen

Cordell Wesselink

SupernumerariesDavid Allyn

Christian Finch

Jim Fulford

Daniel Gregg

Joseph Johnson

Christian Skelley (cover)

Matt Sudduth

Resident Artistcovering principal role

Raymond Ayers –

Don Giovanni

Frann Daviss 612.925.84088

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Cultivating anew generationof opera-goers in the TwinCitiesAre you a 20- or 30-somethingwho’s curious about opera?Looking for something newand fun to look forward to?Join other young professionalsfor the hottest ticket in town— The Minnesota Opera’sYoung Professionals Group!

The low-cost YPGmembership (only $30 perseason) entitles members togreat seats at the Opera forrock-bottom prices, as well aspost-opera cocktail partiesand special events throughoutthe season.

To join, visitwww.mnopera.org,

email us atypg@mnopera.org,

or call us at 612.342.9550

Upcoming EventsOpera Nights Out:

Don Giovanni, March 11Orazi & Curiazi, April 15Joseph Merrick, the Elephant Man, May 20

Spring Swing, April 29

Great Waters is theofficial venue for

Opera Nights Out

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“Art is the triumph over chaos.”

-John Cheever

The Best Way to

Organize, Archive & Enjoy your Photographs

Beautifully printed & bound photograph books.

info@photobookpress.com612-874-0244

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

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Andersen Foundation • Anonymous • Estate of Mrs. Judson Bemis • Julia W. Dayton

John and Ruth Huss • Target Foundation

Mary W. Vaughan Fund of The Minneapolis Foundation

F. R. Bigelow Foundation • Cargill Foundation • General Mills Foundation

3M Foundation • Alfred and Ingrid Lenz Harrison • Estate of Jean Lemberg

The Medtronic Foundation • The Saint Paul Foundation • Wells Fargo Foundation Minnesota

C. Angus and Margaret Wurtele

Karen Bachman • Alexandra O. Bjorklund • Mary and Gus Blanchard • Mary Lee Dayton

Ecolab Foundation • The William Randolph Hearst Foundation • Lucy Rosenberry Jones

Constance and Daniel Kunin • The Art and Martha Kaemmer Fund of HRK Foundation

Keller Trust • The MAHADH Fund of HRK Foundation • Mardag Foundation

John G. Ordway, Jr. • RBC Dain Rauscher Foundation • Saint Paul Travelers

The Harriet and Edson Spencer Fund of The Minneapolis Foundation

Rebecca Rand and E. Thomas Binger • Ellie and Tom Crosby, Jr. • Heinz and Sisi Hutter

Diana and Joe Murphy • Mr. and Mrs. William Phillips • Mr. and Mrs. Steven Rothschild

1997 Irrevocable Trust of Frederick T. Weyerhaeuser

Rod and Susan Boren • Mrs. Thomas B. Carpenter • Carolyn Foundation

Darlene J. and Richard P. Carroll • Cleveland Foundation • Rusty and Burt Cohen

Jane M. and Ogden W. Confer • Sara and Jock Donaldson

Dorsey & Whitney Foundation • Vicki and Chip Emery • Brad and Diane England

Faegre & Benson • Sharon and Bill Hawkins • Bill and Hella Mears Hueg

Connie Fladeland and Steve Fox • Erwin and Miriam Kelen • R. C. Lilly Foundation

Mary Bigelow McMillan • Thomas and Barbara McBurney • Stephanie Simon and Craig Bentdahl

Kevin and Lynn Smith • Virginia L. and Edward C. Stringer • The Southways Foundation

Bernt von Ohlen and Thomas Nichol • Nelson Family Foundation

As of February 23, 2006, $12.2 million has been raised toward the $20 million Opera at the Ordway Initiative. These funds have already begun to transform the

company through new productions, expanded education programs and a momentum that will expand the number of productions. The initiative will also

add to The Opera's endowment, ensuring the future of the company performing here, at the Ordway.

The following are all individual, corporate and foundation donors over $25,000:

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The Minnesota Opera AAnnnnuuaall FundIndividual Giving

Platinum $7,500–$9,999Anonymous Jane M. and Ogden W. ConferRolf and Nancy EnghN. Bud and Beverly Grossman

FoundationSharon and Bill HawkinsBryce and Paula JohnsonMr. and Mrs. Steven RothschildTimothy and Gayle OberBernt von Ohlen and

Thomas NicholConnie and Lew RemeleVirginia L. and Edward C. Stringer

Gold $5,000-$7,499Anonymous (2)Eric and Tracy AanensonDr. James E. and

Gisela CorbettSusan and Richard CrockettDavid and Vanessa DaytonSally J. EconomonChip and Vicki EmeryBrad and Diane EnglandTom and Lori FoleyMr. and Mrs. John ForsytheConnie Fladeland and

Steve Fox

Denver and Nicole GilliandDavid Hanson and William BiermaierKaren and John HimleConstance and Daniel KuninIlo and Margaret LeppikMr. and Mrs. B. John Lindahl, Jr.Ms. Becky MalkersonTed and Roberta Mann

FoundationDiana and Joe MurphyElizabeth Musser Trust—

Fir Tree FundAlbin and Susan NelsonNelson Family FoundationBrian and Julia PalmerKevin and Lynn SmithMitchell and Kendall StoverCatie Tobin and Brian NaasCharles Allen Ward Fund of

The Saint Paul Foundation

Silver $2,500–$4,999Anonymous (2)Chloe D. AckmanLowell Anderson and Kathy WelteMartha Goldberg Aronson and

Daniel AronsonMartha and Bruce AtwaterDr. Ford and Amy Bell

Alexandra O. BjorklundRachelle Dockman ChaseSteve ChirhartCleveland FoundationDr. Stephen and Beth CragleJohn and Arlene DaytonMary Lee DaytonThomas and Mary Lou DetwilerRondi Erickson and Sandy LewisLeslie and Alain FreconChristine and W. Michael GarnerMr. and Mrs. R. James GesellMeg and Wayne GisslenMrs. Myrtle GretteDorothy J. Horns, M.D., and

James P. RichardsonJay and Cynthia IhlenfeldDale A. JohnsonJacqueline Nolte JonesRobert and Susan JosselsonStan and Jeanne KaginSamuel L. Kaplan and

Sylvia Chessen KaplanErwin and Miriam KelenMichael F. and Gretchen G. Kelly and

the Kelly Family FoundationLyndel and Blaine KingMrs. James S. KochirasDavid MacMillan and Judy Krow

Mahley Family FoundationRoy and Dorothy Ann MayeskeJames and Judith MellingerRichard and Nancy Nicholson –

Nicholson Family FoundationDwight D. OppermanWilliam and Barbara PearceMarge and Dwight PetersonMr. and Mrs. William PhillipsStephanie Prem and Tom OwensRobert and Mary PriceLois and John RogersKen and Nina RothchildMr. and Mrs. Steven RothschildSampson Family Charitable

FoundationKay Savik and Joe TashjianFred and Gloria SewellDrs. Joseph and Kristina Sha∂erFrank and Lynda SharbroughJulie Jackley SteinerMr. and Mrs. James SwartzTanrydoon Fund of The Saint Paul

FoundationWilliam Voedisch and

Laurie CarlsonNancy and Ted Weyerhaeuser

Camerata Circle

Bel Canto CirclePlatinum $20,000 and aboveMary and Gus BlanchardJulia W. DaytonJohn and Ruth HussLucy Rosenberry JonesPatricia LundMrs. George T. Pennock (†)*Stephanie Simon and

Craig BentdahlMary W. Vaughan Fund of

The Minneapolis FoundationC. Angus and Margaret Wurtele

Gold $15,000–$19,999Karen Bachman*Mrs. Thomas B. CarpenterDarlene J. and

Richard P. Carroll*Dolly J. FitermanHeinz and Sisi HutterThe Art and Martha Kaemmer Fund of

HRK Foundation*Warren and Patricia Kelly*

Silver $10,000–$14,999Anonymous (2)Allegro Fund of the

Saint Paul Foundation*Rebecca Rand and

E. Thomas BingerRod and Susan BorenRusty and Burt CohenEllie and Tom Crosby, Jr.Mary Dearing and Barry LazarusCy and Paula Decosse Fund of

The Minneapolis Foundation The Denny Fund of

The Minneapolis Foundation

Sara and Jock DonaldsonAlfred and Ingrid Lenz Harrison*Mr. and Mrs. Philip Isaacson*Peter J. KingLynne LooneyThomas and Barbara McBurneyHarvey T. McLainMary Bigelow McMillanMrs. Walter MeyersBruce and Sandy NelsonJose Peris and Diana GuldenElizabeth and Andrew Redleaf

$1,000–$2,499Anonymous (4)Floyd AndersonPaula AndersonKim A. Anderson John Andrus, IIIMr. and Mrs. Edmund P. BabcockDr. Thomas and Ann BagnoliJames Baldwin and Mary AtmoreMr. and Mrs. Paul G. BoeningJan and Ellen BreyerJudith and Arnold BrierConley Brooks FamilyElwood F. and Florence A. CaldwellBruce and Deanna CarlsonJoan and George CarlsonJoe and Judy CarlsonWanda and David Cline

Jeff and Barb CoutureBruce Coppock and Lucia May*Mrs. Thomas M. Crosby, Sr.Ruth and Bruce DaytonAmos and Sue DeinardJack and Claire DempseyMona Bergman Dewane and

Patrick Dewane Ekdahl Hutchinson Family Fund of

The Minneapolis FoundationSusan Engel and Arthur Eisenberg*Ester and John FeslerSalvatore S. FrancoPatricia R. FreeburgJames and Mary FreyTerence Fruth and Mary McEvoy Family

Fund of The Minneapolis FoundationBradley A. Fuller and

Elizabeth LincolnDavid and Kathy Galligan*Richard GeyermanLois and Larry GibsonHoward and Heidi GilbertMicheal and Elizabeth GormanSima and Clark GriffithFrank Guzzetta*The Hackensack Fund of The Saint

Paul FoundationRosalie He∂elfinger Hall Fund of

The Minneapolis FoundationDon HelgesonJohn S. and Rosmarie HellingSarah HenryDiane HoeyBill and Hella Mears HuegMr. and Mrs. Thomas Hull

James L. Jelinek and Marilyn WallLinda JohnsonMarkle KarlenJessie L. KellyE. Robert and Margaret V. Kinney

Fund of The Minneapolis FoundationKenneth Kixmoeller and Kim OtnessMr. and Mrs. William KlingGerard KnightLisa C. KochirasMaria KochirasKyle Kossol and Tom BeckerRobert L. Kriel and Linda E. KrachHelen L. KuehnAnita KuninMark and Elaine LanderganRobert L. Lee and Mary E. Scha∂nerCarl Lee and Linda Talcott Lee

Artist Circle

It is with deep appreciation that The 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 The Minnesota Opera, please call Dawn Loven, Director of the Annual Fund, at 612-342-9567.

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These lists are current as of December 31, 2005, and include donors who gave gifts of $500 or more to The Minnesota Opera Fund since July 1, 2004. If your name is not listed appropriately, please accept our apologies, and call Megan Stevenson, Individual Gifts Associate, at 612-342-9569.

(†) Deceased

Anonymous (2)Mary A. AndresMr. and Mrs. Rolf AndreassenKaren BachmanMark and Pat BauerBarbara and Sandy Bemis (†)Darlene J. and Richard P. CarrollJudy and Kenneth (†) DaytonMrs. George DotyRudolph Driscoll (†)Sally Economon

Paul FroeschlRobert and Ellen GreenIeva Grundmanis (†)Norton M. HintzJean McGough HoltenCharles HudginsDale and Pat JohnsonRobert and Susan JosselsonMrs. Markle Karlen (†)Steve KellerBlaine and Lyndel King

Gretchen Klein (†)Bill and Sally KlingGisela Knoblauch (†)Mr. and Mrs. James KrezowskiRobert Kriel and Linda KrachRobert Lawser, Jr.Jean Lemberg (†)Gerald and Joyce LillquistMargaret L. and Walter S. (†) MeyersEdith Mueller (†)Scott Pakudiatis

Sydney and William PhillipsMrs. Berneen RudolphMary SavinaFrank and Lynda SharbroughAndrew H. Stewart, Jr.Barbara and Robert StruykJames and Susan SullivanGregory C. SwinehartStephanie Van D’EldenMary VaughanDale and Sandra Wick

The 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 The Minnesota Opera. If you

have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity.

For more information on possible gift arrangements, please contact Dawn Loven, Director of the Annual Fund, at

612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you.

Estate aanndd Planned Gifts

The Minnesota Opera AAnnnnuuaall FundIndividual Giving

Gold $750–$999Anonymous (1)Quentin and Mary AndersonMr. and Mrs. Carl W. ClesslerC.D.F. FoundationDrs. Greg and Angie HatfieldJohn and Jean McGough HoltenNicole and Charles PrescottThomas D. and Nancy J. RohdeJim ScarpettaThe Harriet and Edson Spencer Fund

of The Minneapolis FoundationKeith and Catherine Stevenson

Silver $500–$749Anonymous (1)Fred Amram and Sandra BrickWoodbury H. and Cynthia AndrewsGenevive AntonelloSatoru and Sheila AsatoRuth and Dale BachmanJames and Gail BakkomMrs. Harvey O. BeekBarbara S. BelkGerald and Phyllis BensonMichael and Paige BinghamThomas and Joyce BrucknerPatrick and Kristen BurtonDaniel and Christine Buss

Gerald and Sarah CarusoPaul CavallBruce and Ann ChristensenJoann M. D. CierniakEdward Conway and Kathleen JerdeBill and Kate CullenFran DavisJoe Dowling and Siobahn ClearyJoyce and Hugh EdmondsonHerbert and Betty FantleCatherine C. FinchCarolyn FitermanCheryl Kreofsky and

Michael FitzgeraldHenry and Anice FleshDr. Stanley M. and

Luella G. GoldbergAlan GoldbloomRobert Goodell and Renee BrownPaul and Margot GrangaardDeanne and John GrecoSarah GreenMarjorie and Joseph GrinnellBruce and Jean GrussingRoger L. Hale and Nor HallRuth E. HanoldKristin Hayes and Greg SochackiFranz and Jeannie HofmeisterJoe and Nancy Holmberg

David and Sally HyslopDiane and Paul JacobsonAndrzej and Urszula JaworskiMrs. Owen JenkinsDr. and Mrs. Charles R. JorgensenJane and Jim Kaufman Fund of

The Minneapolis FoundationSteve and Jolie KlapmeierRoy and Mary LetourneauJoan E. MaddenC.S. McCrossanOrpha McDiarmid Family FundSheila McNallyL. David MechTheresa A. Murray and Jim MurrayPaul C. MuzioJoan and Richard NewmarkLowell and Sonja NoteboomBradley NussDennis R. OlsonMr. and Mrs. G. Richard PalenDan and Pat PanshinPaula PatineauKern and Kathryn PetersonJames J. Phelps and

Nancy McGlynn PhelpsNicole and Charles PrescottElsie L. QuamLawrence M. Redmond

Ann M. RockJames and Andrea RubensteinJanet and Bill SchaederKaren A. SchafferMahlon and Karen SchneiderMarcia and Stephen SchultzBill and Althea SellJanet and Irving ShapiroPeter and Bonnie SipkinsDaniel and Marilyn SpiegelWarren StortroenRoxanne Stouffer and Joseph CruzJoanne Strakosch and

William UmscheidDana and Stephen StrandBrian and Mia SullivanAllan Valgemae and Robert HardingWill and Li VolkElaine B. WalkerThe Wallin FoundationDavid and Mary Ann Barrows WarkMr. and Mrs. Charles WebsterJames and Sharon WeinelFrank and Frances WilkinsonLani Willis and Joel SpoonheimMary Wong

*Includes Gala Fund-a-Dream support.

Patron Circle

Susan LentheStefanie Lenway and Tom Murtha Diane and Sid LevinMichael and Diane LevySy and Ginny Levy Family Fund of

The Minneapolis FoundationJerry and Joyce LillquistBenjamin Y. H. and Helen C. LiuBill LongDawn M. LovenMr. and Mrs. Donald LuckerMargery MartinLois and Rick Marsh

Gilah Mashaal Samuel D. and Patricia McCulloughWilliam MesserliSandy and Bob MorrisMrs. John H. MyersSusan OkieLuis Pagan-CarloKelly and Michael PalmerAllegra ParkerKaren B. PaulWilliam and Suzanne PayneJodi and Todd Peterson*Mary Ingebrand Pohlad

James and Connie PriesTim and Elin RaymondFrances and George ReidKit Reynolds and Mike SchwimmerJohn and Sandra RoeMrs. John C. RowlandLeland T. Lynch and Terry Saario Fund

of The Minneapolis FoundationPatty and Barney SaundersDr. and Mrs. Richard J. SchindlerStanislaw and Krystyna SkrowaczewskiJe∂ and Helene SlocumDon and Leslie Stiles

Robert and Barbara StruykJames and Susan SullivanHenry and Virginia SweattMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonEmily Anne and Gedney TuttleMr. and Mrs. Philip Von BlonFred and Ellen WellsMs. Wendy WengerTeresa Williams

Artist Circle (continued)

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Over the past weeks, several prominent members of The Minnesota Opera family have

passed away. We celebrate their unique qualities and the

wonderful contributions they have made to the Opera and to the community.

Carolyn ArgentoSoprano and a leading lady of the Center Opera Company;

wife and artistic partner of composer Dominick Argento

Thomas BingerLong-time subscriber and generous patron

Jevne PennockLifetime honorary Board member, patron, subscriber and advocate

TributeIn Memoriam

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1101 Main Street NEMinneapolis

612.378.8814www.crescenttrace.com

� Presented byGreat Lakes Management Co.

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Corporations and Foundations

Minnesota Opera Sponsors

Platinum $10,000+3MAllianz Life Insurance of North AmericaAmeriprise FinancialFred C. and Katherine B. Andersen FoundationThe Bush FoundationCargill FoundationDeloitteDeluxe Corporation FoundationDorsey & Whitney FoundationEcolab FoundationGeneral Mills FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationLowry Hill Private Wealth ManagementThe MAHADH Fund of HRK FoundationThe McKnight FoundationThe Medtronic FoundationOPERA America’s Opera FundRider BennettSpencerStuartSt. Paul TravelersSUPERVALU Stores, Inc.Target FoundationThrivent Financial for Lutherans Twin Cities Opera GuildU.S. Bancorp FoundationU.S. Bank, Private Client GroupU. S. Trust Company Wells Fargo Foundation MinnesotaWenger Foundation

Gold $5,000-$9,999ADC TelecommunicationsAT&T FoundationBemis Company FoundationBriggs and MorganFaegre & BensonJostens, Inc.Lindquist & VennumR. C. Lilly FoundationOnan Family FoundationPentair, Inc.Piper Ja∂ray

Carl and Eloise Pohlad FoundationRahr FoundationRBC Dain Rauscher FoundationStar Tribune FoundationValspar FoundationXcel Energy Foundation

Silver $2,500-$4,999Boss FoundationDellwood FoundationMary Livingston Griggs and Mary Griggs Burke

FoundationHutter Family FoundationAlice M. O’Brien FoundationThe Elizabeth C. Quinlan FoundationMargaret Rivers FundSchwegman, Lundberg, Woessner & Kluth, PATennant FoundationThomson West

Artist Circle $1,000-$2,499Arts & Custom Publishing Co., Inc.Brock-White Co., LLCThe Burdick-Craddick Family FoundationCurtis L. Carlson Family FoundationDigital Excellence, Inc.Gunkelmans Interior DesignHogan & HartsonHorton, Inc.Le Jeune Investment, Inc.Leonard, Street & DeinardMaslon, Edelman, Borman & BrandMayo ClinicMcVay FoundationLawrence M. and Elizabeth Ann O’Shaughnessy

Charitable Income TrustPeregrine Capital ManagementThe Regis FoundationRobins, Kaplan, Miller & CiresiSecurian FoundationThe Southways FoundationSt. Croix FoundationCharles B. Sweatt FoundationTozer Foundation

Season SponsorU.S. Bank, Private Client Group

Production SponsorsTosca, U.S. Bank, Private Client Group

Don Giovanni, Target

Joseph Merrick, the Elephant Man, Ameriprise Financial

Production Innovation SystemGeneral Mills

Opening Night Gala SponsorU.S. Bank, Private Client Group

Marshall Field’s Gives

Okabena Advisors

RAP Teaching ArtistsWenger Foundation

Conductor AppearancesSpencerStuart

Evening Intermission SponsorLowry Hill Private Wealth Management

Promotional SupportMinnesota Monthly

Opera InsightsThrivent Financial for Lutherans

$10,000 – $24,999

$25,000 – $49,999

$50,000 – $99,999

$100,000 +

The Minnesota Opera gratefully acknowledges

its major corporate supporters:

The Minnesota Opera AAnnnnuuaall FundInstitutional Giving

GovernmentCity of Saint Paul’s Cultural STAR ProgramMinnesota State Arts BoardNational Endowment for the Arts

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Good listening {TAKES PRACTICE.}

Crocus Hill Office

Nancy Meeden651.282-9650

speak to

the people

beside you…

without sayinga word

advertise inthis program

Call 612.375.9222

Arts & Custom Publishing Co., Inc.1001 Twelve Oaks Center Dr. #1017

Wayzata, MN 55391

�

Conductor Xian Zhanghas just received the

Martin E. Segal Award.Now in its 18th year, theprestigious award isgiven annually to tworising young artists inrecognition of outstand-ing achievement in theirrespective disciplines.Lincoln Center Chair-man Bruce Crawfordand President Reynold Levy presided overthe event. Martin Segal, in whose name the Lincoln Center Board of Directors established the award, also participated in the ceremony. On a rotating basis since theinception of the prize, two of Lincoln Center's 12 resident arts constituents havebeen asked to nominate an artist or ensembleassociated with their organization to receivethe Martin E. Segal Award.

The Martin E. Segal Awards were establishedby Lincoln Center's Board of Directors and agroup of Mr. Segal's friends and colleagues atthe time of his retirement as Lincoln CenterChairman in 1986. The awards mark Mr.Segal's record of leadership and commitmentto supporting and advancing the careers ofup-and-coming artists.

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Wolfgang Amadeus Mozart is

considered one of the greatest

composers of all time and his

works are still being performed

around the world, but what makes

him so great? Go on a guided tour

and hear the music that Mozart

composed for the piano, string

quartet and voice.

Join The Saint Paul Chamber

Orchestra, The Minnesota Opera

and The Schubert Club for a day

of fun and surprises while you

celebrate Mozart’s 250th Birth-

day. The afternoon features actress

Vera Mariner, who will capture

and bring you into the world for

Wolfgang Amadeus Mozart. The

day also includes performances by

an SPCO String Quartet, a young

talented pianist and Minnesota

Opera voices singing excerpts

from a famous Mozart opera.

Special Family ConvertMarch 25, 2006

10:30 a.m. and NoonTickets: $8

651.291.1144

TBD