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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

Orazi & Curiazi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

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

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

Saverio Mercadante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

The Minnesota Opera Chorus and Orchestra. . . . . . . . . . . . . . . . . . 20

Joseph Merrick, The Elephant Man . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Conversation at the Humphrey . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

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

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

2006-2007 Opera Season. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . 33

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

TBD

Welcome to today’s production of Orazi & Curiazi. For more than four decades, The Minnesota Opera has enriched the cultural lifeof our community by producing outstanding andinnovative operas that inspire and entertain.

U.S. Bank is honored to sponsor the 2005 –2006 season. We are proud of our 20+ yearrelationship with The Minnesota Opera and thespectacular Ordway in St. Paul.

At U.S. Bank, we support great dreams, great art and great arts organizations. Theyenrich the community with vibrancy, creativityand excellence. As the sixth largest bank in America today, U.S. Bank is the only majorbank headquartered in Minnesota, and we’re deeply committed to giving back to this community.

Thank you for coming and enjoy the performance!

Rod Boren, Senior Vice President, Personal Trust Regional Manager, U.S. Bank Private Client Group

Jose Peris, Senior Vice President, Private Banking Regional Manager, U.S. Bank Private Client Group and Minnesota OperaBoard Member

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Minnesota Opera StaffPresident & 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 . . . . .Kristen Burke,

Angie SpencerHead 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 WardEducation Assistant . . . . . . . .Katie WiebeApprentice State Director . . . . . . . . . . . . .

Doug Scholz-Carlson

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

Angela Yarbrough Costume Technicians . . .Helen Ammann,

Sarah Bahr, Jennifer Dawson, Mary Farrell, Michele Hoaglund, Christine Richardson, Ann Rose

Painter/Dyer . . . . . . . . . .Marliss JensenWig/Makeup Designer . . .Marilyn JordanWig/Makeup Assistants . . . . . . Ashley Ryan,

Nina Stewart

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

Lighting Coordinator . .Marc D. JohnsonProduction Administrative

Assistant . . . . . . . . . . . . Katherine CattrysseProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongProduction Carpenter . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . . .Steve RovieShop Electrician . . . . . . . . . . . . . . . .Tom RostSculptor . . . . . . . . . . . . . . .James R. Bakkom Carpenters . . . . . . . . . James DePaulis, Ken Evans,

Tom Fitzsimmons, Dan Kimmerle, Eric VeldeyCharge Painter . . . . . . . . . . .Debra JensenPainter . .Catherine Davis, 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 VolunteersThe 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

Days ago, The

Minnesota Opera

announced its

2006-2007 season

and an ambitious

subscription cam-

paign. As we make

the long-awaited

return to a

five-opera season, we’re investing our

time and energy in reaching new

subscribers. An opera company can best

achieve artistic, institutional and

programmatic heights with the loyalty

of a strong subscription base.

A robust subscription base engenders a

strong and healthy company, one that

has the degree of predictability that

growth requires.

From our earliest days producing

maverick new work as Center Opera to

our highly acclaimed present-day

stagings of rare Bel Canto works like

today’s Orazi & Curiazi and

contemporary operas like next month’s

Joseph Merrick, the Elephant Man, we

have been regarded as a leader in our

industry with a reputation for

innovation. The efforts we’re

undertaking to build subscriptions are

consistent with that spirit of innovation.

There are some who consider the

subscription model a thing of the past,

citing a tendency in the public toward

last-minute decision-making. But you

only have to look as far as the Minnesota

Vikings or the Wild to see the potential

and the benefit of a strong season ticket

base. In this community, with its value

for the arts, we know we can achieve

that at the Opera, and we are

committed to making it happen.

A national study by OPERA America

indicates that people come to the

opera most often when invited by

others. If you enjoy your experience

today at the Opera, please introduce us

to your friends.

Kevin Smith

Welcome to this

season’s very

special Bel Canto

presentation, Orazi

& Curiazi. Though

it is a 19th-century

work, this produc-

tion is an American

premiere. In fact,

this is the first staging of Mercadante’s

opera since the 19th century.

Mercadante may not be a household

name to contemporary opera-goers, but

in his time he was a preeminent

composer in the Bel Canto tradition.

Like Bellini and Donizetti, Mercadante

experimented with the musical

framework and legacy of Rossini, and

also like them, he created his own

musical language as a response. Liszt

called him Italy’s greatest composer.

You may notice from these performances

a grand, classical structure, and dramatic

pacing that you’d expect from later

composers. Mercadante, in fact, had a

big impact on the young Verdi.

We are thrilled that three of our favorite

singing actors and Bel Canto specialists,

Brenda Harris (who has a very long

history with the company but most

recently appeared in the title roles of

Maria Padilla and Norma), Scott Piper

(Rigoletto and Carmen) and Ashley

Holland (Pedro to Brenda’s Maria

Padilla last year), returned to bring this

opera back under the stagelights, and

that you are here joining us as witnesses

to the greatness of Bel Canto opera.

Next season, our Bel Canto offering is

the company premiere of Rossini’s La

donna del lago, which will star Ewa

Podles and Maureen O’Flynn. We

expect it will sell out, so don’t forget to

subscribe for season tickets!

Enjoy the opera!

Dale Johnson

Artistic Director

Board of Directors7

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Notes from the Leadership

from the Artistic Director

from the President

(†) Deceased

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

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

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

H. Bernt von Ohlen

´

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

TBD

NEW CALENDAR

The Schubert Clubpresents the Third Annual

Saint Paul Summer Song Festival

June 9–17, 2006

www.schubert.org

Featuring William Bolcom & Joan Morrisand other superb performers!

At the McKnight Theatre, Ordway Center for the Performing Arts

The Schubert ClubMAUD MOON WEYERHAEUSER SANBORN

International Artist Series

Anne-Sophie Mutter, violinNovenber 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

Ordway Center for the Performing Arts, Saint PaulConcerts at 8:00 PM

For ticket information, call The Schubert Club at 651-292-3267

2006-2007 Season

Soprano Karita Mattila

By arrangement with Boosey & Hawkes, Inc., agent in the USA for

Josef Weinberger, Ltd., London, publisher and copyright owner.

The appearances of Theodore Chletsos, Seth Keeton and

John Michael Moore, national finalists, Alison Bates, regional finalist,

Jamie-Rose Guarrine and Edward Mout, district finalists of the

Metropolitan Opera National Council Auditions, are made possible

through a Minnesota Opera Endowment Fund established for

Artist Enhancement by Barbara White Bemis.

Performances of Orazi & Curiazi 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 Saverio MercadanteLibretto by Salvadore Cammarano

World premiere at the Teatro San Carlo, NaplesNovember 10, 1846

April 8, 9, 11, 13 and 15, 2006Ordway Center for the Performing Arts

Sung in Italian with English captions

Conductor . . . . . . . . . . . . .Francesco Maria ColomboProduction . . . . . . . . . . . . . . . . . . . . .Eric SimonsonStage Director . . . . . . . . . . . . . . . . . . . .Peter KozmaMovement Coordinator . . . . . . . .Heidi Spesard-NobleSet Designer . . . . . . . . . . . . . . . . . . . . . . .Neil PatelCostume Designer . . . . . . . . . . . . . .Kärin KopischkeLighting Designer . . . . . . . . . . . .Michael ChybowskiWigs and Makeup . . . . . . .Tom Watson & AssociatesChorusmaster . . . . . . . . . . . . . . . . . . .Bruce StasynaProduction Stage Manager . . . . . . .Alexander FarinoEnglish Captions . . . . . . . . . . . . .Christopher Bergen

The CastOrazio, a Roman warrior . . . . . . . . . . . . Ashley HollandCamilla, fiancée of Curiazio, sister to Orazio . . . . . . . . . . . . . . . . . . . .Brenda HarrisCuriazio, an Alban warrior . . . . . . . . . . . . . Scott PiperVecchio Orazio, father of Orazio and Camilla . . . . . . . . . . . . . . . .Christopher DickersonSabina, wife of Orazio,sister to Curiazio . . . . . . . . . . . . . . . . . Karin WolvertonHigh Priest . . . . . . . . . . . . . . . . . . . Theodore Chletsos

Brothers of Orazio and Curiazio, family of the Orazi,priests, soldiers, senators, Romans, Alban warriors

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

Saverio Mercadante presents somewhat of an enigma. In

one breath he could be described as a generous colleague

to fellow composers Vincenzo Bellini, Gaetano Donizetti and

Giuseppe Verdi; in another, a jealous, scheming opportunist,

described by Rossini as musically sound, but

personally boorish. On the one hand,

Mercadante graciously introduced the equally

paranoid Bellini to Milan, where he would

premiere his first unqualified success, Il pirata,

and when Bellini was on his deathbed in Paris,

Mercadante tried to visit him, then

stayed for his funeral. And though Verdi

would blindly entrust Mercadante with

overseeing the production of Macbeth in

a Naples (a city that had been

constantly problematic), Mercadante

would use all his influence to block a

mounting of Il trovatore in the same

city a few years later, according to at

least one contemporaneous source.

For his part, Verdi hardly seemed

affected by the incident, citing

Mercadante’s name at the head of his

list when it came time to recruit

composers to write movements for a

requiem to honor Rossini’s death,

“if only a few bars” (the

statement may have had a

touch of cruelty, as the aged

Mercadante was at that

time completely blind).

Commentators like

to point out

Verdi’s

apparent borrowings from the older composer’s works, in

particular similarities between La vestale and Aida, Verdi’s

resetting of Gustave III, ou le bal masqué (treated earlier by

Mercadante as Il reggente), Verdi’s use of Schiller’s play Die

Räuber for I masnadieri (previously set by Mercadante as I

briganti) and even an appropriation of the name Violetta in

La traviata, again used earlier in Mercadante’s Il bravo and in

the same year as his new opera’s title character (Violetta;

1853). One can imagine a sense of bitterness could have

evolved as Mercadante’s name quickly became eclipsed as

Verdi’s star continued to rise.

Compositionally, Mercadante is equally puzzling, having

early in his career embraced Shakespeare (relatively unknown

in Italy at that time) on two occasions (again, preceding

Verdi) and the antiquated libretti of Metastasio and Zeno for

five of his works, then switching gears in mid-life to reinvent

the Bel Canto traditions in his reform operas, and filling his

final decades with a retreat back to classical subjects and

forms. He was equally comfortable working with the more

orthodox Felice Romani, enjoying a convivial relationship

that rivaled that of Bellini, then shifting to the wildly

romantic Salvadore Cammarano to add spice to the

enduring, stalwart classical stories of La vestale, Orazi e

Curiazi, Medea and Virginia the composer seemed to prefer.

Mercadante’s Orazi e Curiazi falls in the Verdi canon

between the highly successful Nabucco (1842) and Ernani

(1844) on one side and Macbeth (1847) on the other. Not

everything that flowed from Verdi’s pen was pure gold,

however – a production of Alzira in 1845 at Mercadante’s

home advantage, the Teatro San Carlo, was hardly a success

and remains among his least performed operas. After that

dip into 18th-century literature (based on Voltaire’s Alzire, ou

Les Americains), Verdi tended to focus on contemporary

writings, which may be one reason for his lasting popularity.

Mercadante looked in the other direction, in some cases

resetting subjects already treated successfully by other

composers. Orazi has a particularly rich ancestry, most

notably in operas by Antonio Salieri (1786) and Domenico

Cimarosa (1796), both drawn from a drama by 17th-century

French playwright Pierre Corneille, itself based on turn-of-

the-first-century author Titus Livius’s History of Early Rome.

Livius/Livy recounts Rome’s vaguely mythical, pre-imperial,

pre-republican tribal days.

Orazi hails from about 650 BC during the reign of the

city’s third king, Tullus Hostilius. At that point, Rome was

barely a city-state, constantly pestered by neighboring Alba.

Both feared their powerful Etruscan neighbors to the north,

and rather than deplete their cumulative troops in yet

another civil war, the two realms devised the neat solution of

having three brothers (some say two sets of triplets) from

each side fight to the death. The solution is only temporary,

as the Etruscan Tarquins eventually assumed power as

Rome’s final kings, and had a persistent blatant disregard for

the populace, leading to their overthrow and the

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by David Sander

Background Notes continue on page 12

Background Notes

Costume sketchesby Kärin Kopischke

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Background Notes continued from page 11

establishment of Rome’s first republic. Alba had another

connection to Rome. As the older of the two cities, Alba Longa

had a king, Numitor, who spawned a daughter, Rhea Silva,

destined to become a vestal virgin as Numitor feared her

children might overthrow him. She violated her oath of chastity

and gave birth to twins, Remus and Romulus, and her sons

were raised in secret, “suckled by wolves,” and fated for conflict

in adult life. Once Remus was slain by his brother, Romulus

took over the new city-state, becoming its first king and

lending it his name. Fifty years later, following the Horatii

(Orazi) battle and in violation of its precepts, Alba was leveled

by Tullus, its King Mettius massacred and its citizens

assimilated into the Roman populace.

In his play Horace, the

Classically minded

Corneille added a few

touches to the story to give

it a little more bite. From

the Curiace family, Sabine is

introduced as Horace’s

spouse to strengthen the ties

between the two dynasties

and to intensify the

difficulty of their

predicament. Similarly, the

father of Horace is given

more substance, as the

epitome of Roman

patriotism to counter female

emotion and sensibility.

From Livy, the playwright

enhances the story of

Horace’s battle schemes

(evidently the wounds

suffered by the Curiace

brothers variously slowed their pace, allowing the victor to finish

each one off in quick succession), but in the modest theatrical

custom of bienséance, he has Camille’s murder at her brother’s

hand occur offstage to end Act IV. Not stopping there, Corneille

adds a fifth act in which Horace, condemned to a torturous death

for his misdeed, appeals his case to King Tullus and is pardoned.

Romanticizing things just a bit, Cammarano and Mercadante

made some adjustments, including the elimination of Corneille’s

rather anticlimactic final act, instead using Camilla’s (onstage)

murder by her brother’s hand as the ultimate scene. They also

enhanced the role of the oracle. Corneille only mentions Apollo’s

tantalizing prediction that all will be well as Rome and Alba will

be at peace the next day, with Camille and Curiace eternally

united (in death, of course – forever cryptic, the gods never tell

too much). In the opera, the oracle’s appearance is developed into

a typically Romantic mad scene, during which Camilla is driven

out of her senses as the solemn message only sanctions the battle

that is about to occur.

Romantic or not, Mercadante’s late operas have been

uniformly described as archaic. How does Orazi fit in the context

of the composer’s operatic reform and what influence did this

have on the young Verdi? After Mercadante’s return from Spain,

he was again engaged by impresario Domenico Barbaja to write

an opera for the San Carlo theater. This became Zaira and was

hugely successful. In his time away from the Italian peninsula,

Mercadante had developed a more personal style, straying away

from the standard Rossinian code; he also became acquainted

with the works of Bellini and programmed them next to his own

in the Iberian theaters. The operas that followed Zaira also

showed this tendency toward individuality, but it was the trip to

Paris and the premiere of I briganti that sealed the deal. It was here

Mercadante was exposed to the fresh and prevailing style of grand

opéra in the works of Auber, Halévy, Meyerbeer and the French

operas of Rossini, all of which had debuted within the preceding

eight years. Returning

to Italy, Mercadante

seized upon what he

had just seen,

producing Il giuramento

from a play, Angelo,

tyran de Padou, by

Frenchman Victor

Hugo. By the time he

had written Elena da

Feltre, the composer

was able to articulate

his manifesto in a new

style that “banished

trivial cabalettas,

eliminated (Rossinian)

crescendos, simplified

vocal lines, reduced

repetition, enhanced

the originality of the

cadences, emphasized

the story and action and

enriched the orchestra,” in essence creating music that is

more dramatically driven and relevant to the story at hand.

The late 1830s, when Mercadante’s reform operas were at

their pinnacle of glory, was precisely the same time Verdi came

to Milan for schooling. Rejected from the conservatory for his

poor piano playing and his advanced age, Verdi took private

lessons and was forced to use his street smarts. Undoubtedly the

young composer saw many of Mercadante’s operas – one of his

masterpieces, La vestale, was programmed in the same season as

Verdi’s Genovese premiere of his first opera Oberto. His third

opera, Nabucco, was a subject Mercadante had turned down.

As Verdi’s star ascended, there is no doubt Mercadante was

miffed. Here was an uneducated country bumpkin daring to

take leaps where the older composer had gingerly made tiny

steps – a concise, vibrant, truthful and dramatically viable work

of art. When it came time to move to Naples to head the

conservatory, Mercadante inveighed to undermine Verdi’s

success at every turn, as the marginal successes of Alzira, Luisa

Miller and Il trovatore all attest.

Things came to a head in 1858 when Mercadante apparently

sabotaged Verdi’s newly proposed opera, Un ballo in maschera.

The Oath of the Horatii, c. 1784, by Jacques-Louis David

Réunion des Musées Nationaux/Art Resource, NY

Background Notes continue on page 22

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act iScene one – The temple Camilla and

Sabina pray with the other women as

war between Rome and Alba is

imminent. Both are torn by their

loyalties – Sabina, an Alban, is married

to Camilla’s brother Orazio, and

Camilla, a Roman, is betrothed to

Sabina’s brother Curiazio. The Roman

senators enter with a proclamation –

there will be no war between the two

armies. Three Alban soldiers shall fight

to the death three opposing Roman

warriors. The two women fear for their

respective loves, yet Camilla is able to

comfort Sabina in this dark hour.

The mood is brightened by the

arrival of Curiazio, who is able to visit

Camilla now that the peace is sealed

between the two countries. Both recall

the painful time they spent apart but

revel in the joy of their impending

marriage, which is also celebrated by

the arrival of Camilla’s father.

Scene two – The home of the Orazi Orazio

awaits the outcome of the senators’

conclave – they have gathered to select

the three who will fight against the

Albans. He puts aside any feelings for

his family in favor his desire to fight for

the fatherland. Orazio’s resolve is

further steeled when he is selected to

lead his two brothers on the Roman

side of the contest.

Scene three – The temple Camilla and

Curiazio approach the altar as Vecchio

Orazio delights in the future of his

offspring – the sons destined to

defend Rome, the daughter to be

happily wed. The ceremony is

interrupted by Orazio, who makes the

harsh proclamation that the Albans

have selected their warriors: the three

Curiazi brothers. Camilla begs her

beloved not to go and curses the gods

for her cruel fate, causing the

agitation of her father, brothers and

priests alike.

— intermission —

act i iScene one – The home of the Orazi As

Orazio prepares for battle, Curiazio

recalls the past – they were once as close

as brothers, and Orazio had even saved

his life in battle. The Roman is moved,

but only for a moment as the citizens

call them both to the battlefield.

Scene two – Before the city gates Just as

the battle is about to begin, the

opponents take an oath to win or die

and the people to submit to the

victor. The High Priest interrupts the

proceedings with news that they have

provoked divine anger. All proceed to

the oracle at once.

Scene three – The oracle Camilla is

already in the subterranean chamber,

deep in prayer over the conflicted

loyalties between her brothers and her

lover. When the others arrive, the

oracle speaks and sanctions the conflict,

driving Camilla into madness.

— intermission —

act i i iScene one – Near the Alban encampment

As dawn breaks, Curiazio confronts

his impossible situation – how can he

slay the Orazi and still be loved by

their sister? Camilla arrives presently

and begs to be put to death, rather

than witness the day’s horrific

outcome. They are interrupted by

Alban soldiers who announce that the

hour has come. The Orazi have been

sighted on the battlefield.

Scene two – The house of the Orazi

Vecchio Orazio is troubled by recent

news. Two of his sons are dead, and

Orazio was seen in flight. The father is

shamed by his son’s cowardice, but

further reports reveal that it was only

a tactical move, allowing Orazio the

opportunity to finish off his

adversaries one by one. Rome has

been victorious.

Scene three – A public square Orazio is

received as a hero by all except one –

his sister. Camilla rushes in, deriding

her brother’s murder of her lover.

Orazio demands that she compose

herself, and cede her private grief to

the public good, as he has done. The

discussion becomes heated, and when

it becomes clear that Camilla will not

be consoled, Orazio puts her to death.

Synopsis

Set design by Neil Patel.

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Saverio MMeerrccaaddaanntteeb Altamura, September 17, 1795; d Naples, December 17, 1870

Acontemporary of Gioachino Rossini, Vincenzo Bellini and

Gaetano Donizetti, Saverio Mercadante’s career spanned

almost the entire Bel Canto age,

continuing well into Giuseppe

Verdi’s middle period. With

nearly 60 operas to his credit,

the Neapolitan composer was

also one of the most prodigious,

almost equaling the oeuvres of

Donizetti and Giovanni Pacini.

Mercadante was the product of

his father’s indiscretion with the

household maid and was later

officially adopted as a

foundling. Though born to a

noble family, his childhood was

spent in poverty, due to the

unsettled circumstances of

Napoleon’s occupation of Italy.

Like most of his fellow

composers, Mercadante showed

early musical promise, and his

family moved to Naples. There

his father and mother married,

and a forged birth certificate

from a Neapolitan parish

(denoting a younger age) was obtained so that young Saverio

could attend the Naples Conservatory free of charge. He

eventually found a seat in the famed Niccolò Zingarelli’s

composition class.

Mercadante’s early Neapolitan period overlapped with that of

Gioachino Rossini, who was chief composer for the royal theaters

under the directorship of impresario Domenico Barbaja. After

unveiling several ballets, Mercadante’s first opera, L’apoteosi

d’Ercole, premiered in 1819 before the Neapolitan royal family

(with Isabella Colbran, Rossini’s future first wife, singing the

principal soprano role – she would create the title role of La donna

del lago later that season). Out of character for command

performances, the king applauded enthusiastically, and Rossini

also lavished praise on the young maestro. Barbaja would soon

secure Mercadante as Rossini’s successor.

His seventh opera, Elisa e Claudio, given at the Teatro alla Scala

in 1821, is generally considered his first genuine success, and over

the next few years Mercadante would compose voraciously for all

of the major Italian cities (Milan, Venice, Bologna and Naples),

much like his contemporaries. He also had the distinction of

being chosen for the 1824 fall season at Vienna’s principal venue,

the Kärtnertortheater (also under Barbaja’s control), again

shadowing Rossini, who had become the toast of the town during

a tour just two years earlier. Mercadante had been careful to follow

Zingarelli’s advice to favor the older, more dramatically truthful

(in other words his) style rather than the more buoyant one

exhibited by Rossini’s trademark crescendos and highly decorated

cabalettas, but this naturally drew rebuke from the Viennese

critics. Consequently, Barbaja cancelled Mercadante’s Neapolitan

contract in favor of a more Rossinian composer, Pacini.

In 1827, Mercadante

embarked on a trip to Spain and

Portugal, and spent several

years as director of Italian opera

in Madrid. This did much to

ameliorate his reputation in

Italy upon his return, and by

1833 he had managed to obtain

the position of maestro di cappella

of the Novara Cathedral. For the

next seven years, his operatic

output slowed to about one

work per year as his attention

turned to sacred music. At the

same time he built stronger

bonds with the northern Italian

theaters and was invited by

Rossini (then in Paris) to

compose I briganti (1836) for

the Théâtre Italien, following

on the heels of Bellini and

Donizetti, who had produced I

puritani and Marino Faliero,

respectively, one year earlier.

Mercadante’s new work was deemed a mere succès d’estime, as all

attention at the moment was focused on the premiere of Giacomo

Meyerbeer’s Les Huguenots.

Mercadante’s next big hit came with the Milan premiere of Il

giuramento in 1837. Other works from this period include Le due

illustri rivali, Elena da Feltre and Il bravo. Between the death of

Bellini and the advent of Verdi, Mercadante edged out Donizetti

at Italy’s most popular composer, confirmed by an assertion made

by Franz Liszt and by another invitation from Rossini in 1840 to

run Bologna’s Liceo Musicale. Though Mercadante initially

accepted, during the same period the composer unveiled

La vestale, and this secured him the more prestigious directorship

of the Naples Conservatory, vacated by Zingarelli’s death several

years earlier (one of Mercadante’s students would become Michele

Puccini, father of the more famous Giacomo). As in Novara and

Bologna, Donizetti had been up for the same appointment and

was a bit put out, as he already had been teaching at the school for

some time.

The thirties also became associated with Mercadante’s reform

period, during which he attempted to shake off the Rossinian

yoke and move toward a style that was more dramatically

forthright. He also preceded Verdi in demanding greater integrity

of his works, refusing alterations to his scores or substitution of

arias. During his later years, however, Mercadante has been

deemed reactionary for turning back to a conservative style and

classical subjects as Verdi moved the romantic generation forward.

Mercadante’s pace slowed as his blindness became complete, and

the final works had to be dictated to his students.

Portrait of Saverio Mercadante (1795-1870)

Scal

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Project OperaHansel and GretelProject Opera (the Opera’s new youth

opera ensemble) is busy preparing for

their spring production of Hansel and

Gretel under the musical direction

of Dale Kruse.

Performances of Hansel and Gretel

are free to the public and will take

place at the Opera Center on May 19

at 7 pm, May 20 at 2 pm and 7 pm

and May 21 at 2 pm. To attend, please

call Jamie Andrews at 612.342.9573.

Summer CampThere is still time to audition for

Project Opera: Summer Camp 2006!

Over the course of two weeks,

participants will learn a scene, stage it

and present it in two public concerts.

The camp staff will include Dale

Kruse, Doug Scholz-Carlson, Miriam

Scholz-Carlson and Jan Kimes.

New this summer will be the

inclusion of a student orchestra. Led

by Claudette Laureano, members of

the Minnesota Youth Symphonies will

accompany the student scenes for the

final performances.

Opera Camp dates are July 10–21,

from 9:30 am till 4:30 pm (no

rehearsals on July 15 & 16). The final

performances will be held on July 21

at 3 pm and 7 pm at the Opera

Center. Tuition is $425 for singers

and $150 for orchestra members, and

scholarships are available.

Interested singers in grades 7–12

(seniors who just graduated are

welcom) are asked to set up an

audition by calling Jamie Andrews

at 612.342.9573.

Apprentice RecitalWe invite you to attend a very

special recital given by The Minnesota

Opera’s high school Apprentices on

April 23, 2006 at 11 am at the

Minneapolis Institute of Arts, 2400

3rd Avenue South.

The Apprentice program is a

year-long internship that provides the

highest quality experience for

exceptionally talented high school

students interested in the professional

world of opera. These students were

identified by participating in Day at

the Opera and Project Opera: Summer

Camp last year. Throughout the year,

they have attended seminars at the

Opera Center that included work in

diction, vocal coaching, acting and

college guidance. In addition to these

recital performances, the Apprentices

perform on the Opera’s main stage in

Joseph Merrick, the Elephant Man.

Adult Education ClassJoseph Merrick,

the Elephant Man

May 9, 2006, 7–9 pm

Opera Center, 620 N. 1st Street,

Minneapolis

Join us for a very special evening

with the composer of Joseph

Merrick, the Elephant Man, Laurent

Petitgirard. Hear first hand how

he approached composing this

tender, shimmering score and

why he feels this story has

relevance to a modern audience.

This class is a wonderful way to

gain insight into this American

premiere production.

Tour the Opera Center prior to

every class. Starting at 6:15 in the

lobby, a tour guide will show you

where costumes are built,

sets are designed and rehearsals

take place.

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).

High School Apprentices Setara Barukzoy, Kyle De Graff, Erin Marie Capello andDaniel Segura at their performance in Il Signor Bruschino

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The Artists For more biographical information about these artists,

visit our website at www.mnopera.org

“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

Theodore ChletsosHigh Priest

Minnesota Opera Resident ArtistRecently

Don Giovanni; Carmen; Maria Padilla; Butterfly, Minn. OperaVanessa, Central City Opera

Amahl 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 City

UpcomingJoseph Merrick, the Elephant Man, The Minnesota Opera

Gianni Schicchi, Opera Theater of New Jersey

Brenda HarrisCamilla

Minnesota Opera DebutArmida, 1993

RecentlyMaria Padilla; Norma; Tito; others, Minnesota Opera

Agrippina, New York City OperaVanessa, Opéra National du Rhin (Strasbourg)

La clemenza di Tito, Metropolitan Opera; Opéra du RhinUpcoming

Vanessa, Teatro Massimo (Palermo); Chautauqua OperaMacbeth, Arizona Opera; Edmonton Opera

Ariadne auf Naxos, Utah Opera

Ashley HollandOrazioMinnesota Opera DebutMaria Padilla, 2005RecentlyCaligula, Frankfurt Opera; Cologne OperaBilly Budd; Falstaff; Ernani; others, English Nat’l OperaLucia di Lammermoor, Lyric Opera of ChicagoParsifal, Grazer Opera; Don Giovanni, Royal Opera CGLa vera storia, Staatsoper (Hamburg)UpcomingThaïs, Grange Park Opera (Northington)Billy Budd, English National Opera

Scott PiperCuriazio

Minnesota Opera DebutRigoletto, 2003

RecentlyCarmen, The Minnesota Opera

Rigoletto, Michigan Opera Theatre; Opera RoanokeMadame Butterfly, Vancouver Opera; Opera Macau

Carmen; Rigoletto, Compañia Lírica Nacional (Costa Rica)Upcoming

Carmen, New York City OperaLa bohème, Seattle Opera

Jenufa, Glimmerglass Opera

Christopher DickersonVecchio OrazioMinnesota Opera DebutDon Giovanni, 2006RecentlyUn ballo in maschera, Opera Company of PhiladelphiaLa traviata; La sonnambula, Caramoor FestivalLa bohème, Florentine Opera; Billings OperaDon Giovanni; La Cenerentola, San Antonio Lyric OperaTosca, Fort Worth OperaDoktor Faust, San Francisco OperaMadama Butterfly; Samson et Dalila; Un ballo in maschera;

La traviata; The Magic Flute, Lyric Opera of Chicago

Karin WolvertonSabinaMinnesota Opera DebutLucia di Lammermoor, 2001RecentlyLes contes d’Hoffmann; Gloriana; Salome,

Des Moines Metro OperaDon Giovanni; Carmen; Maria Padilla; The Magic Flute; Passion;

Rigoletto; The Handmaid’s Tale; others, Minnesota OperaLes contes d’Hoffmann; The Student Prince, Central City OperaDvorak Te Deum; Amahl, Minnesota Orchestra UpcomingThe Rake’s Progress, Des Moines Metro Opera

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iThe ArtistsFor more biographical information about these artists,

visit our website at www.mnopera.org

We Proudly Support The Minnesota OperaAnd The Diverse Portfolio It Has To Offer.

Member FDIC ©2006 Marshall & Ilsley Corporation 06-321-052

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

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

La Cenerentola; others (AD), Hungarian State OperaUpcomingJoseph Merrick, the Elephant Man, The Minnesota Opera

Michael ChybowskiLighting Designer

Minnesota Opera DebutRecently

Parsifal, Seattle Opera; V; Violet Cavern; Kolam, Mark MorrisThe Lieutenant of Inishmore; Beckett/Albee;

The Beard of Avon, (New York)Much Ado About Nothing, Delacorte (Central Park)

Oedipus Complex; Humble Boy; The Philanderer, Oregon Shakespeare Festival

UpcomingColder Than Here, MCC Theatre

A Cherry Orchard, Yale Repertory Theatre

Francesco Maria ColomboConductorMinnesota Opera DebutMaria Padilla, 2005UpcomingMichigan Philharmonic Orchestra

(Prokofiev’s Alexander Nevsky)Malaga Philharmonic, Spain (Barber, Tchaikovsky)Czech Radio Orchestra (Schumann, Mahler)Orchestra Verdi, Milan (Brahms, Wagner)Orchestra Toscanini, Parma (Mozart, Schumann, Shostakovich)North Carolina Opera (Verdi’s Aida)Pomeriggi Musicali, Milan (Reynaldo Hahn’s Mozart)

Neil PatelSet Designer

Minnesota Opera DebutMadame Butterfly, 2004

RecentlyAlcina, New York City Op.; Madame Mao, Santa Fe Op.Cavalleria rusticana; Suor Angelica, Op. Theatre of St. LouisLe nozze di Figaro; Don Giovanni, Nikikai Opera (Tokyo)

Ring of Fire; Side Man; ‘Night Mother, BroadwayHere Lies Jenny; Dinner with Friends; Living Out; The Long

Christmas Home; Quills, the Grey Zone, Off-BroadwayRegional – Guthrie Theater; Children’s Theater; La Jolla;

Steppenwolf; Chicago Shakespeare; Mark Taper; others

Kärin KopischkeCostume Designer

Minnesota Opera DebutLa bohème, 1996

RecentlySteppenwolf; American Conservatory Theatre; Goodman;

Huntington; Chicago Shakespeare Theatre; Long Wharf Theatre; Milwaukee Repertory Theatre; Victory Gardens;

Kennedy Center; Crossroads Theatre; San Francisco Shakespeare Festival; California Shakespeare Festival;

Cincinnati Playhouse; Skylight Opera Theatre;Upcoming

The Grapes of Wrath, The Minnesota Opera

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available

Eric SimonsonProductionMinnesota Opera DebutThe Magic Flute (tour), 1991RecentlyA Note of Triumph – Academy Award (short documentary)Carter’s Way, Kansas City RepertoryFive Points; On Tiptoe, HBO TelevisionKorczak’s Children, Children’s Theatre CompanyAhab’s Tale; Work Song, Milwaukee Repertory TheatreThe Song of Jacob Zulu, Steppenwolf Theatre; BroadwayUpcomingThe Grapes of Wrath, The Minnesota Opera

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TBD

The Artists For more biographical information about these artists,

visit our website at www.mnopera.org

TBD

Bruce StasynaChorusmasterMinnesota Opera DebutDer Rosenkavalier, 2000RecentlyCarmina burana, Avery Fisher HallShakespeare Unplugged, Dallas Art MuseumDon Giovanni; Tosca; others, The Minnesota OperaFidelio; Beethoven Symphony No. 9, Minnesota OrchestraDie ägyptische Helena, American Symphony OrchestraSweeney Todd; The Barber of Seville; Tito, Wolf Trap OperaUpcomingJoseph Merrick, the Elephant Man, The Minnesota Opera

Heidi Spesard-NobleMovement Coordinator

Minnesota Opera DebutThe Merry Widow, 2002

RecentlyCarmen*; La traviata*, The Minnesota Opera

Midlife: the Crisis Musical*, Brigadoon*; The Christmas Show*; BigBang, Music Man; My Fair Lady; others, Chanhassen Theatres

Runaways*, Macalaster CollegeJesus Christ Superstar*, Hamline UniversityRite of Spring; Beauty and the Beast; Swan Lake;

Mythical Hunters; Allegro Brilliant, Minnesota Dance TheatreAmerican in Paris; Cakewalk; Valse Fantasie, State Ballet of Missouri

*choreographer

The Minnesota Opera announces 2006-07 GENERAL/CHORUS AUDITIONS

May 24, 25, 26 & 27, 2006The Minnesota Opera Center, 620 North First Street in Minneapolis

Audition AppointmentsAuditions are by appointment only and must be

scheduled in advance. Appointments for the general

public open May 1. No audition calls or appointments

will be taken before this date. All appointments are on a

first-come, first-served basis. Please call 612-333-2700

weekdays between 10 am till 4 pm.

Audition RequirementsPrepare one operatic aria of choice, in original language.

Bring current resume and photo. Singer must provide

own accompanist. A list of accompanists can be made

available upon request.

As this is the one opportunity for everyone to be heard,

non-resident singers are welcome and encouraged to

audition. However, be aware that most principal roles

are usually cast a year in advance and supporting roles

and chorus are generally cast locally or from our

Resident Artists Program.

All positions paid. EOE.

TBD

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The Minnesota Opera OrchestraViolin I Kristen Christensen

concertmaster

Julia Persitz

David Mickens

Allison Ostrander

Judy Thon-Jones

Kari Giles

Andrea Een

Angela Hanson

Conor O’Brien

Megan McClendon

Violin II Laurie Petruconis

Elizabeth Decker

Stephan R. Orsak

Melinda Marshall

Carolin Kiesel Johnson

Miriam Griffiths

Almut Engelhardt Kachian

Bradley Johnson

Viola Vivi Erickson

Laurel Browne

Jenny Lind Nilsson

Susan Janda

Jim Bartsch

Coca Bochonko

Cello Adriana LaRosa Ransom

Rebecca Arons

Tom Austin

Sally Dorer

Dale Newton

Fang-Yu Liang

Bass John Michael Smith

Constance Martin

Michael Watson

Rolf Erdahl

Flute Michele Frisch

Amy Morris

PiccoloCasey Kovacic

OboeMarilyn Ford

Merilee Klemp

(double English Horn)

ClarinetSandra Powers

Nina Olsen

BassoonCoreen Nordling

Laurie Hatcher Merz

HornCharles Kavalovski

Charles Hodgson

Neal Bolter

Lawrence Barnhart

TrumpetJohn G. Koopmann

Christopher Volpe

TrombonePhil Ostrander

Sue Roberts

David Stevens

TimpaniKory Andry

PercussionMatthew Barber

Robert Adney

HarpMin Kim

Personnel ManagerSteve Lund

The Minnesota Opera ChorusRaymond Ayers

Alison Bates

Judy Bender

Karen Bushby

Lisa Butcher

Steve Dahlberg

Kyle DeGraff*

Molly Dimba

Andy Elfenbein

L. Peter Erickson

Rebecca Fredell

Peter Frenz

Jamie-Rose Guarrine

April Hanson

Katherine Haugen

Roy Heilman

Robin Helgen

Jeffrey Hess

James Howes

Ben Johnson

Charles Johnson

Matthew Johnson

Brian Jorgensen

Mark Josephsen

Callie Kimball

Brian Kuhl

Paula Lammers

Steven Landby

Shirley Leiphon

Eric Mellum

Mary Monson

John Michael Moore

Edward Mout

Bill Murray

Matthew Neil

Aja Pridgen

Peter Robinson

Ana Romero

Cathryn Schmidt

Robert Schmidt

Sandra Schoenecker

Charles Schwandt

Lu-Cheng Shih

Melissa Steele

Staci Stringer

Martin Swaden

Eric Vollen

* denotes Apprentice

SupernumerariesChristian Finch

Andy Flamm

Michael Mayer

James Monson

Matt Sudduth

Norm Tiedemann

Resident Artistscovering principal roles

Raymond Ayers –

Orazi

Alison Bates –

Camilla/Sabina

Theodore Chletsos –

Curiazio

Seth Keeton –

Vecchio Orazio

Edward Mout –

High Priest

Frann Daviss 612.925.84088

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Background Notes continued from page 12

LATTE DA4c

The censors were merciless on the younger composer, finding

the theme of regal assassination politically offensive and

insisting on so many changes that the libretto no longer bore

any resemblance to the composer’s original conception. The

opera eventually premiered in Rome, but still in a mutated

state, the setting transferred from Sweden to Boston.

Verdi’s Ballo has another distinction in the context of

Mercadantean reform – it is his last to include a formal

cabaletta (the faster movement of a double aria). Mercadante

spoke of excising its superfluous tendencies for good, yet more

than once he had been accused of not making good on that

promise. And Verdi, for his more lasting innovations, was still

composing traditional Rossinian double-arias in his three great

middle-period masterpieces, Rigoletto, La traviata and Il

trovatore. For his part, Mercadante was indeed progressive in the

long run; in Orazi we find two arias, Camilla’s Act II and

Vecchio Orazio’s Act III, with significant plot development

between the cantabile (slow movement) and cabaletta beyond

the typical tempo di mezzo, or transition section. Coupled with

Meyerbeerian choral scenes of grand proportions, greater

attention to the meaning of the text, urgent and earnest

melodies, declamatory orchestrations, striking harmonies and

melodramatic tragedy demanded by the Romantic era,

Mercadante was true to his modernizing ideals. Unfortunately,

he was bound by the conservatory’s conservatism and the

expectations of his Neapolitan public, while the unbridled

maverick Verdi could do whatever he pleased. And while

Mercadante was not especially interested in contemporary

literature, Verdi had his finger on the pulse of the day and

exploited the most modern of the era’s volatile plays. Likely

Mercadante would have been galled to learn that Verdi had

been named as his successor at the conservatory (Verdi declined

the offer), and he would have been doubly outraged had he

lived to see Aida, with its shades of La vestale, make its

European debut at La Scala in 1872, running opposite a revival

of Il giuramento. Fortunately, the composer was already two years

in his grave.

With its hybrid of Classical and Romantic conventions,

Orazi e Curiazi was an instant success and stayed in the

repertoire of the San Carlo for six months as the opera began

its rounds around greater Italy. For Orazi’s 1848 local

premiere in Parma, it earned a distinction achieved by many of

Verdi’s “Risorgimento” operas, inciting a riot for its political

overtones of the Act II oath scene during an especially

tumultuous revolutionary year. Nonetheless, by 1882 Orazi

faded from the repertoire, but not from the collective memory

– it was revived almost 100 years later in concert form, and later

recorded. These performances mark the American premiere and

the first fully staged production since the 19th century of this

neglected masterpiece.

Music by Laurent Petitgirard, Libretto by Eric Nonn

Sung in French with English captions

May 13, 16, 18, 20 and 21, 2006

Ordway Center for the Performing Arts

For tickets, call 651-224-4222

The Minnesota Opera presents the American premiere of

Joseph Merrick, the Elephant Man in a new production by

acclaimed choreographer and director Doug Varone. French

composer Laurent Petitgirard tells the story of the beautiful

soul trapped by a tragic disease in a cinematic score that is

at once shimmering and tender.

Originally composed for a contralto voice, the title role

will be sung by celebrated countertenor David Walker in

his company debut. One of The Minnesota Opera’s most

versatile and celebrated conductors, Antony Walker,

returns to the podium.

Joseph Merrick, the Elephant Man premiered in February,

2002, at the State Opera

House in Prague (with the

French title, Joseph Merrick dit

Elephant Man), and was

proclaimed “a moving,

modern work” by Amazon.com

and “a compelling score” by

London’s Sunday Telegraph. It

was subsequently staged to

further acclaim in Nice in

November and December,

2002, and filmed by OSF

Productions for French

television. “This opera tells

the story of the Elephant Man from his own perspective,

rather than from the doctor’s as did the famous David

Lynch movie,” said Artistic Director Dale Johnson. “I

think this is highly appropriate, because ultimately, it is

the story of a beautiful soul. It’s the characters on the

outside that distort that

reality, seeing only his disease. To highlight this perspective,

Doug Varone’s approach will rely on movement rather than

disfiguring makeup to portray this spirit.”

Joseph Merrick, the Elephant Man

is sponsored by

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Coming up: Joseph Merrick, the Elephant Man…

David Walker makes his company debut asJoseph Merrick.

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TWIN CITIES THEATER IS OVER-RATED

At least we hope it will be. Go to IveyAwards.com, rate all the plays you see and help decide

who will receive an Ameriprise Financial Ivey Award at this year’s event. You can view the

performance calendar for all 61 participating theaters too!

Next month’s American premiere of Joseph Merick, the

Elephant Man is a new operatic treatment of the

real-life story of a man named Joseph Merrick, who in the

1880s became a famous charity case – and ultimately a

celebrity – while his debilitating condition stumped his

doctors. Prior to his hospitalization, he had worked in a

circus freak show act. The opera tells the story from the

viewpoint of Merrick. It reveals the intelligence and

sensitivity buried underneath the mask of his deformity,

and delves into his desire to be “normal.” It also paints

portraits of the people that surround Merrick, exposing

the assumptions made by the circus showmen, medical

professionals and general public about Merrick’s life.

Continuing a multi-year partnership with the

University of Minnesota’s Hubert H. Humphrey Institute

of Public Affairs, The Minnesota Opera is convening a

panel comprising experts in policymaking, medicine and

disability, as well as the opera’s composer, moderated by

opera commentator Robert Marx. Using the opera as a

jumping off point, this panel will create a forum in which

the community can explore how policy, public perception,

and people with disabling diseases interact. The event will

also feature musical selections from the opera.

The Minnesota Opera’s past collaborations with the

Humphrey Institute have explored ideas in contemporary

opera that connect to conversations in policy. These events

have included an art and public policy forum discussing

the differences between “freedom from” and “freedom to”

as introduced in the Poul Ruders opera The Handmaid’s

Tale, (May 2003 at Open Book), and “Revisiting an epic

conversation,” a dialogue with The Honorable Walter F.

Mondale on Nixon’s landmark visit with Chairman Mao

from the perspectives of Senate history and John Adams’

opera, Nixon in China.

…and a Conversation at the Humphrey TThhee EElleepphhaanntt MMaann::

aa ccoonnvveerrssaattiioonn oonn ppoolliiccyy,, ddiissaabbiilliittyy aanndd ooppeerraa

Wednesday, May 10, 2006, 7 pmHubert H. Humphrey Institute of Public Affairs

301 19th Avenue, Minneapolis

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

John and Ruth Huss • The McKnight Foundation • 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 March 24, 2006, $12.6 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 Annual 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 AanensonRachelle Dockman ChaseDr. James E. and

Gisela CorbettSusan and Richard CrockettDavid and Vanessa DaytonMary Lee DaytonSally J. EconomonChip and Vicki EmeryBrad and Diane EnglandTom and Lori FoleyMr. and Mrs. John Forsythe

Connie 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 StoverMr. and Mrs. James SwartzCatie 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 BellAlexandra O. BjorklundSteve ChirhartCleveland FoundationDr. Stephen and Beth CragleJohn and Arlene 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. RichardsonKen and Tina HughesJay 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 King

Mrs. James S. KochirasDavid MacMillan and Judy KrowMahley 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 SteinerTanrydoon 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 DewaneJohn and Maureen Drewitz Susan 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 Lincoln

David 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 HoeyJohn and Jean McGough HoltenBill 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 March 1, 2006, 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 intheir wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If youhave 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 and Planned Gifts

The Minnesota Opera Annual FundIndividual Giving

Gold $750–$999Anonymous (1)Quentin and Mary AndersonMr. and Mrs. Carl W. ClesslerJoe Dowling and Siobahn ClearyC.D.F. FoundationDrs. Greg and Angie HatfieldJoan and Richard NewmarkNicole and Charles PrescottThomas D. and Nancy J. RohdeThe Harriet and Edson Spencer Fund

of The Minneapolis FoundationKeith and Catherine StevensonFrank and Frances Wilkinson

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 BussGerald and Sarah CarusoPaul Cavall

Bruce and Ann ChristensenJoann M. D. CierniakJ.P. CollinsEdward Conway and Kathleen JerdeBill and Kate CullenFran DavisJoe Dowling and Siobahn ClearyJoyce and Hugh EdmondsonEkdahl Hutchinson Family Fund of

The Minneapolis FoundationHerbert and Betty FantleCatherine C. FinchDonald and Gail FiskewoldCarolyn FitermanCheryl Kreofsky and

Michael FitzgeraldHenry and Anice FleshDr. Stanley M. and

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

Ekdahl Hutchinson Family Fund ofThe Minneapolis Foundation

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

Minneapolis FoundationJessie L. KellySteve and Jolie KlapmeierRoy and Mary LetourneauJonathan and Lisa LewisJoan E. MaddenC.S. McCrossanOrpha McDiarmid Family FundSheila McNallyL. David MechCharles and Victoria MogilevskyTheresa A. Murray and Jim MurrayPaul C. MuzioLowell 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. Quam

Lawrence M. RedmondAnn M. RockJames and Andrea RubensteinJanet and Bill SchaederKaren A. SchafferMahlon and Karen SchneiderMarcia and Stephen SchultzBill and Althea SellJanet and Irving ShapiroPeter and Bonnie SipkinsJim and Cindie SmartDaniel 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 M. and

Mary Ann Barrows WarkMr. and Mrs. Charles WebsterJames and Sharon WeinelLani 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 SaundersJim ScarpettaDr. and Mrs. Richard J. SchindlerStanislaw and Krystyna SkrowaczewskiJe∂ and Helene Slocum

Don and Leslie StilesRobert and Barbara StruykJames and Susan SullivanHenry and Virginia SweattMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonEmily Anne and Gedney TuttleAllan Valgemae and Robert HardingMr. and Mrs. Philip Von BlonFred and Ellen WellsMs. Wendy WengerTeresa Williams

Artist Circle (continued)

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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

Corporate 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 Annual FundInstitutional Giving

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

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TBD

Good listening {TAKES PRACTICE.}

Crocus Hill Office

Nancy Meeden651.282-9650

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iCultivating 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.

YPG season tickets are nowavailable for 2006-2007.

To join, visitwww.mnopera.org,

email us atypg@mnopera.org,

or call us at 612.342.9550

UPCOMING EVENTSOpera Nights Out:

Orazi & Curiazi, April 15

Joseph Merrick, the Elephant Man, May 20

Spring Swing, April 29

Great Waters is theofficial venue for

Opera Nights Out

TBD

TBD

TBD