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Contents

The Minnesota Opera

President & CEO Kevin SmithArtistic 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

Account Executive Liesl Hyde, Amy NewtonCreative Designer Stacy Hawkins

Graphic Designers Sue Sentyrz Klapmeier, Robert Ochsner

This activity is made possible in part by a grant provided by the Minnesota State ArtsBoard through an appropriation by the Minnesota State Legislature. This project is

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

February 2007

Large-print and Braille programs are available at the Patron Services Office

The Minnesota Opera Staff and Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . 6Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7The Grapes of Wrath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Cast and Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Ricky Ian Gordon and Michael Korie . . . . . . . . . . . . . . . . . . . . . . . . . 14Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

The Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . . . 26Education at the Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Coming up: Lakmé. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Young Professionals Group Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

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MINNESOTA OPERA Staff

MINNESOTA OPERA Volunteers

Welcome to today’s production of The Grapes

of Wrath. For more than four decades, TheMinnesota Opera has enriched the cultural life of our community by producing outstanding andinnovative operas that inspire and entertain.

U.S. Bank is honored to sponsor the 2006 –2007 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. They enrich thecommunity with vibrancy, creativity and excellence. As the sixth largest bank in Americatoday, U.S. Bank is the only major bank headquartered in Minnesota, and we’re deeplycommitted 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 Opera Board Member

President & CEO Kevin SmithArtistic Director Dale Johnson

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

Jamie AndrewsDramaturg . . . . . . . . . . . . . . . David SanderConductor-in-residence . . . . . .Robert WoodResident Artists . . . . . . . . . .Kyle Albertson,

Alison Bates, Andrea Coleman, Jamie-RoseGuarrine, Joshua Kohl, Bryan Lemke,

Kelly Markgraf, Cortez Mitchell, Edward Mout, Bill Murray,

Nili Riemer, Eric Schnobrick, Hugo VeraRAP Faculty . . . . .Allysum Tai Chi Center,

Nancy Boler, Claude Corbeil, Carlotta Dradi-Bower, Barbara Kierig,

Peter Robinson Master Coach . . . . . . . . .Mary Jo GothmannLibrarian . . . . . . . . . . . .Griffin WoodworthTeaching Artist . . . . . . . . . . . . .Lisa ButcherProject Opera Apprentices . . . . . .Setara Barukzoy,

Celeste Johnson, Siri Jorstad, Kaitlin VeryProject Opera Music Director . . . Dale KruseProject Opera Accompanist . . .Kathy KraulikApprentice Acting Coach . .Doug Scholz-Carlson

ProductionProduction Director . . . . . . . Kevin RamachProduction Stage Manager . . . . . Alex FarinoAssistant Stage Managers . . . . .Casey Martin,

Angie SpencerProduction Admin Asst. . Katherine Cattrysse

CostumesCostume Shop Manager . . . .Erica M. BurdsAssistant Costume Shop Manager . .Beth SandersAssistant Costume Designer . . .Rebecca BallasDrapers . . . . . . . . .Chris Bur, Yancey Thrift,

Angela Yarbrough Costume Technicians . . . .Helen Ammann,

Sarah Bahr, Jennifer Dawson, Mary Farrell,Amy McClure, Rose Ryan, Dana Shepard

Painter/Dyer . . . . . . . . . . . . Marliss JensenAssistant Painter/Dyer. . . . Kathleen SullivanProsthetics . . . . . . . . . . . . . . . . .Crist BallasCustom Suits . . . . . . . . . . . . . . .Paul ChangWig/Makeup Designer . . . . . . .Tom WatsonWig/Makeup Assistants . . . . . . . . . . Mary Farrell,Emily Rosenmeier, Ashley Ryan, Nina Stewart

SceneryTechnical Director . . . . . Mike McQuistonAsst. Technical Director & Lighting Coordinator . . . Marc D. JohnsonAssistant Lighting Designer. . Timothy CryanProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . . Mike LongProperties Specialist . . . . . . . . Marc ScampProduction Carpenter . . . . . . . . . JC AmelScene Shop Foreman . . . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . .Steven RovieCarpenters . . Levi Houkom, James Tresbesch,

Joshua Tyler, Eric VeldeyCharge Painter . . . . . . . . Kevin NoteboomScenic Artists. . . . . . . Sergey Dzyubanyuk,

Lynn Isaacson, Shannon McElree,Sreekishen S. Nair

Video Programmer/Assistant. . Zachary Borovay

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

Manager . . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . . . Jennifer ThillExecutive Assistant . . . . . . . Theresa MurrayFinance Assistant . . . . . . . . . . . . . . . .Libby DyeIT Applications Specialist . . . . . .Jessica Wright

Institutional AdvancementVice President of Institutional

Advancement . . . . . . . . . . .Patrick DewaneInstitutional Advancement

Manager . . . . . . . . . . . . . .Kelly Clemens

DevelopmentDirector of the Annual Fund . . . .Dawn LovenCorporate and Government

Gifts Manager . . . . . . . . . . . Linda JohnsonInstitutional Gifts Associate/Gala Coordinator

Emily SkoblikIndividual Gifts Associate . . . .Megan Stevenson

Marketing/CommunicationsMarketing Director . . . . . . . . . . . . .Carl LeeCommunications Director . . . . . Lani WillisAudience Development Associate . . Jamie NiemanTicket O∑ce Manager . . . Katherine CastilleCustomer Relations Associate . Robert SchmidtTicket O∑ce Assistants . .Alexandrea Kouame,

Kendra Ramthun, Bri Whitcraft, Max Wirsing

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

Catherine AhernAnn AlbertsonGerald 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 Garay

Christine 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 NifoussiCandyce OsterkampDan PanshinPat PanshinMegan PelkaHolly PetersonBill PhillipsSydney PhillipsJulia PorterCarol PurvisKathleen RileyShannon Robinson

Leigh RoethkeJohn RosseEmma RotilieEnrique RotsteinJohn 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

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Welcome to TheGrapes of Wrath.

The opera indus-try, like any suc-cessful business,needs to invest inthe creation of new

product. This is one reason why TheMinnesota Opera regularly intro-duces new and unfamiliar works toour audience.

Yet commissioning an opera is nosmall feat, and the raising of thiscommission – with its 18 principals, acast of 50 and 60 musicians in the pit– has certainly taken a village. Thereare many generous sponsors to thank,and I invite you to read the acknowl-edgments on page 10 of this program.

Without the major support of nationalpresenting sponsor AmeripriseFinancial, The Grapes of Wrath would

simply not be possible. The MinnesotaOpera could not have initiated thisproject without the support of long-time friends Ruth and John Huss,who provided the “start-up capital” forthe commission. Nor could we havedone it alone, and we are grateful forthe forward vision of Anne Ewers andUtah Symphony & Opera for comingon as a co-commissioner from themoment we had secured the musicrights to The Grapes of Wrath. UtahSymphony & Opera, along withcoproducers Pittsburgh Opera andHouston Grand Opera, are essentiallythe venture capitalists. We’d also liketo salute The National Endowment forthe Arts and OPERA America fortheir support of this project and fortheir leadership role in creating athriving American opera industry.

Kevin Smith, President and CEO

Welcome to thislong-awaited world premiere.

More than a decadeago, after workingwith director EricSimonson on our

last commissioned opera, Bok ChoyVariations, I started to look for a topicfor a new commission. I felt we were inneed of operas that speak to us as apeople right now the way Mozart’s andVerdi’s operas spoke to the audiences oftheir times. I looked to Aida as amodel. Aida’s intimate story of threecentral characters is told in a broadersocial context. When I reread TheGrapes of Wrath, I knew it could be anopera. The Joad family story is told inan epic context – the mass migrationof tenant farmers from the ruined landsof the Dust Bowl to the harsh reality ofa California’s corporate agriculture.

Steinbeck’s 75-year-old portrayal ofDust Bowl-era disenfranchisement,

homelessness and corporate indiffer-ence rings sadly true in today’s world.As in the 1930s, there is displace-ment of whole populations caused by natural, economic and political disasters. We only have to look atHurricane Katrina’s refugees to knowthis is still a relevant American story.

To tell this story, we assembled a talented creative team of Americanartists: Academy Award-winningdirector Eric Simonson, the distinctlyAmerican composer Ricky IanGordon and the talented wordsmithand theater man, Michael Korie.Together, they have created a power-ful opera that we think will resonatein the hearts of everyone who stillseeks the American Dream.

I hope you enjoy America’s newestopera, The Grapes of Wrath.

Dale Johnson, Artistic Director

NOTES FROM THE Leadership

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BOARD OF DirectorsFROM THE Artistic Director

FROM THE President

OfficersJ. A. Blanchard III, Chair

Jane M. Confer, Vice ChairRuth S. Huss, Secretary

Denver Gilliand, TreasurerKevin Smith, President & CEO

Directors

Directors EmeritiKaren BachmanBurton Cohen

Julia W. DaytonMary W. Vaughan

Honorary DirectorsDominick Argento

Philip BrunelleElizabeth CloseDolly Fiterman

Charles C. FullmerNorton M. Hintz

Liz KochirasPatricia H. Sheppard

Legal CounselJames A. Rubenstein, Moss & Barnett

Martha Goldberg AronsonSusan S. BorenKathleen CallahanNicky B. CarpenterRichard P. CarrollRachelle D. ChaseSusan J. CrockettMary A. DearingSara DonaldsonChip EmeryThomas FoleySteve FoxSharon HawkinsKaren L. HimleHeinz F. HutterPhilip Isaacson

Lucy Rosenberry JonesMichael F. Kelly, Jr.B. John LindahlLynne E. LooneyDiana E. MurphyBrian E. PalmerDebra PatersonJose PerisMary Ingebrand PohladStephanie J. PremElizabeth RedleafConnie RemeleStephanie SimonMitchell StoverVirginia StringerH. Bernt von Ohlen

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March 24, 25, 28, 30, 31 &April 1Adult tickets begin at $25. Senior & student discounts available.

Music: Kurt Weill Words: Maxwell AndersonConductor: Steve StuckiJoin us for an unforgettable performanceat the newly renovated Ritz Theater inNortheast Minneapolis.

Tickets: www.TicketWorks.com or 651-209-6689 • More details: www.skylarkopera.org

* formerly North Star Opera

Also from Skylark Opera:*February 16 only: Gala Benefit Dinner and ConcertStarting June 9: Sigmund Romberg’s The Student PrinceFall 2007: Twin Cities premiere of Ned Rorem’s Our Town

Based on Alan Paton’s novel Cry, the Beloved Country, Weill’s musical jarredBroadway in 1949 with its indictment of apartheid. Kenneth Overton starsas Stephen Kumalo, the South African minister who mustchoose between the convictions of his faith and his son’slife. You’ll be caught up in a compassionate story of familytragedy, the power of faith and the promise of reconciliation.

Kenneth Overton

*

1600 IDS Center • 80 South Eighth Street • Minneapolis

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National Presenting SponsorAmeriprise Financial

Production SponsorsRuth and John Huss

The Shen Family Foundation

The Carlyle Fund

The Seaver Institute • National Endowment for the Arts • OPERA America’s Opera Fund • BNSF Foundation • Ann & Gordon Getty Foundation • St. Paul Travelers • Nordstrom

Media SponsorsComcast Cable • Star Tribune • WCCO Radio

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The Grapes of Wrath by John Steinbeck © 1939; renewed 1967 by John Steinbeck; permission granted by McIntosh and Otis, Inc.

The Grapes of Wrath is a coproduction with Utah Symphony & Opera, Houston Grand Opera and Pittsburgh Opera.

The appearances of Kelly Kaduce, winner; Theodore Chletsos, national semifinalist;Anna Jablonski and Andrew Wilkowske, regional finalists; and Jesse Blumberg and

Joshua Kohl, district finalists of the Metropolitan Opera National CouncilAuditions, are made possible through a Minnesota Opera Endowment Fund

established for Artist Enhancement by Barbara White Bemis.

Performances of The Grapes of Wrath are being taped for delayed broadcast onMinnesota Public Radio, KSJN 99.5 in the Twin Cities.

The 2006–2007 Season Preview Recording is madepossible, in part, with the assistance of Universal Music.

The Minnesota Opera season is sponsored by FAF Advisors and U.S. Bank.

The appearances of the 2006–2007 season conductors are underwritten by SpencerStuart.

Opera Insights is sponsored by Thrivent Financial forLutherans Foundation.

Camerta Dinners and Meet the Artists events are sponsored by Lowry Hill Private Wealth Management.

Music by Ricky Ian GordonLibretto by Michael KorieBased on the novel by John Steinbeck

Original stage direction and dramaturgy by Eric Simonson

Orchestrations by Ricky Ian Gordon and Bruce Coughlin

Co-commissioned by The Minnesota Opera and Utah Symphony & Opera

World premiere

February 10, 13, 15, 17 and 18, 2007Ordway Center for the Performing Arts

Sung in English with English captions

Conductor..................................................Grant GershonStage Director ............................................Eric SimonsonChoreographer..............................................Doug VaroneSet Designer ................................................Allen MoyerCostume Designer ....................................Kärin KopischkeLighting Designer ......................................Robert WierzelVideo Designer ................................Wendall K. HarringtonSound Designer ......................................C. Andrew MayerWig Master and Makeup ..................Tom Watson & AssociatesAssistant Director ..............................Doug Scholz-CarlsonAssistant Choreographer ......................Heidi Spesard-NobleChildren’s Chorusmaster..................................Janice KimesDialect Coach ..............................................Elisa CarlsonProduction Stage Manager ........................Alexander FarinoFlying Sequences ........................................Flying by Foy

THE CAST

Tom Joad, a released prisoner ......................Brian LeerhuberMa Joad, family matriarch..............................Deanne MeekRosasharn, Tom’s pregnant sister ......................Kelly KaduceJim Casy, a lapsed preacher ......................Roger HoneywellPa Joad, a tenant farmer ............................Peter HalversonUncle John, Pa’s brother ..................................Robert OrthGranma, Pa and John’s mother ........................Rosalind EliasGrampa, her husband ....................................Dan DressenConnie Rivers, Rosasharn’s husband ..............Jesse BlumbergNoah, Tom’s slow-witted brother ..............Andrew WilkowskeAl, his younger brother ....................................Joshua KohlRuthie, their younger sister ......................Maeve MoynihanWinfield, their youngest brother ..................Henry BushnellFeatured ensemble................................Theodore Chletsos; ........................................Anna Jablonski; Kelly Markgraf;

......................................Gregory Pearson; Karin Wolverton

Setting: Oklahoma, Southwestern America and California in the mid 1930s

The composer dedicates this score to Kevin Doyle.

The Grapes of Wrath is sponsored by , national presenting sponsor.

Additional support provided by the National Endowment of the Arts, Opera America and BNSF Foundation.

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BACKGROUND Notesby David Sander

John Steinbeck’s Pulitzer Prize-winning novel The Grapesof Wrath was first published in 1939, and then quicklymade into a major motion picture the following year.

The reception was mixed – many sniffed Communism in theauthor’s harsh critique of big business versus organizedlabor. Others perceived the book’s startling ending vulgarand a bit too risqué for the times (and it was discreetlyomitted for the more pristine and considerably cheeriermovie version). Nonetheless, the book held its place as abestseller, and the film earned an Academy Awardnomination for best picture. Along with other famous worksdevoted to social change, such as Harriet Beecher Stowe’sUncle Tom’s Cabin and Upton Sinclair’s The Jungle, the novelhas earned its place in the pantheon of American literatureand paved the way to a notable lifetime achievement award,the Nobel Prize, which the author received in 1962.

Steinbeck (1902 – 1968) was a resident of Californiaduring the 1930s and witnessed first hand the plight ofmigrant laborers and their clash with corporateagriculture as well as the rampant disease, abject filth anddesperate poverty in which the workers were forced tolive. Throughout the decade, several hundred thousand“Okies” and “Arkies” descended upon the San JoaquinValley, invited by the promise of the harvest, but werethen exploited by greedy farmers and never reallywelcomed by the local citizens. The ill-timing of theGreat Depression with the Dust Bowl had beencalamitous for plains states residents. They were hardlyexperienced in a region not especially suited to farming,having only been living there for a couple generations.Unfamiliar with the periodic dry spells, crop rotation andthe need for wind breaks, the voracious croppers cut downnearly every tree in favor of acquiring more arable land.When the drought finally came in the early 30s, there wasnothing to keep the fatigued topsoil from blowing away.And blow it did.

The dust was pervasive. In a moment’s notice it couldblacken the sun and suffocate any living creature. Stayingindoors didn’t help much – the particles easily seepedthrough the cracks, and children in particular fell victimto “black pneumonia”

as their lungs filled with dirt. Farmers already financiallystricken by the Depression found little federal assistance,as the government had been bled dry by economic blightin all corners of the nation. As crops continually failed,banks foreclosed on life-sustaining loans. Horse-and-mule-replacing tractors overran houses, and families were displaced, many lured westward by the need of sheer survival.

As migrants soon discovered, there was far less laborneeded than was advertised, thereby keeping wagesextremely low, food in short supply and living conditionspoor. Horrific disease-ridden, temporary settlements knownas “Hoovervilles” (sardonically titled after the Depression-era president) and “Little Oklahomas” became the only placeto eke out an existence until cleaner sanitary governmentcamps came into existence.

Ironically, only a handful of these relative oases were everconstructed. Though intended to raise social conscience, TheGrapes of Wrath went into print just as the crisis was about toend – with the dark cloud of world conflict nearing, manymigrants found solid jobs in city-based shipyards andmilitary supply or by conscription into the armed forces.

Steinbeck co-dedicated his novel to one of the firstgovernment camp managers, Tom Collins, to whom heowed much of his research for The Grapes of Wrath,including working side-by-side with migrant workers (asan homage Collins appears in the novel as the benevolentJim Rawley). As a one-time investigative journalist forthe San Francisco News, the author was commissioned towrite a series of articles, published October 5–12, 1936,citing ghastly conditions that Grapes barely grazes.Steinbeck’s examination was compiled in a short work,The Harvest Gypsies (with photography by DorotheaLange), observations he would later summarize: “Duringthe migration of thousands of dispossessed families … Isaw people starve to death. That’s not just a resoundingphrase. They starved to death. They dropped dead.”1 Thearticles were represented in a vaguely political pamphlet,Their Blood Is Strong, which included an additionalepilogue with suggestions for change, including aresettling of the Okies on small family farms. Quite

Sharecropper's Grave, Hulton Archive (Getty Images)

Dust Bowl, Hulton Archive (Getty Images)

obviously, this concept ran contrary to the conventionallarge, commerical fields of California.

Steinbeck was predisposed toward the downtrodden [astwo earlier works, Tortilla Flats (1935) and In Dubious Battle(1936) attest], and his interest didn’t end there. He beganwith an epic survey, The Oklahomans (no text is known tosurvive), then turned to L’Affaire Lettuceberg, a bitter satirebased on conflict between corporate agriculture and the fieldworkers in his native Salinas. Though his publishers hotlyanticipated the completion of the then-65,000+ word novel,the author soon became dissatisfied with the work, desiringsomething more true-to-life. To everyone’s dismay, heburned the pages of his nearly completed manuscript.

But the seeds had been lain, and those three false startsyielded a unique milestone in literature. It took critics atleast twenty years tounravel The Grapes ofWrath’s many layers,and the novel is stillworthy of analysis eventoday. One remarkablefeature is thealternation ofintercalary chaptersbetween the Joadnarrative, described as “repositories of all the externalinformation” by the author. In most cases they describe themigrants’ journey in the greater context, but also anticipateevents to follow specific to the Joads (a great foreshadower,Steinbeck frequently buries nuggets, seeminglymeaningless, to become relevant much later in thenarrative). These interchapters have been described as a“Greek chorus” (and nicely translate as such in a few keymoments during the opera) and offer detachment to ensurethe audience doesn’t get too close to the Joads, their hardtimes only exemplary of everyone’s tragedy.

Steinbeck’s use of symbolism and allegory is alsoingenious, if not at times overwhelming. Something asinsignificant as the recurrent stalwart journey of anindefatigable, proto-postmodern land turtle (not addressedin the opera), whose southwestern pursuit cannot be stopped

by attempted annihilation or capture, becomes anontological icon of persistence and survival. Also carrying itshome on its back, theturtle’s Joad-likeexistence isn’t subtlebut is still effective.There are frequentassociations to theanimal world in thetraits and actions of theearthy Joads, whothough sympathetic,are not free of sin –Tom’s quick temper,Al’s lusty libido, UncleJohn’s drunkenness,Rosasharn’s self-centered nature, Pa’snaiveté, Ma’s almostpathological need to keep the family together, Granma’sreligious fervor, Grampa’s obstinancy and thievery (far frominnocent, he is guilty of stealing the Joad homestead from anabsent neighbor and its 40 acres from the NativeAmericans). Nor are they hesitant to express themselvesfreely, using authentic, often base language, which Steinbeckfought hard to include. There are frequent sexual references(perhaps the most lewd being Connie and Rosasharn’sintercourse very possibly at the moment of Granma’s death).Consequently, The Grapes of Wrath, with its foul banter,frank sexuality and shocking final scene, has at times founditself censored, subject to banning and even burning.

Another reason for the controversy may be the novel’squasi-religious elements. It’s clear Steinbeck had no realfaith as evidenced by Ma Joad’s various encounters withsermonizing zealots, and by his ex-preacher, Jim Casy, whogives in to his natural impulses (and who is reluctant to praywhen oft-called upon to do so). Yet Steinbeck uses the Oldand New Testaments unexpectedly, with deception and guile.There are the more straightforward examples, including thenames of Noah, Rose of Sharon and Moses (and the moresaintly Thomas, John and James), or the title of the work ➤

BACKGROUND NOTES CONTINUED ON PAGE 21

“Wife of a family with three children. She is38; her face is lined and thin and there is ahard glaze on her eyes. The three childrenwho survive were born prior to 1929, whenthe family rented a farm in Utah. In 1930this woman bore a child which lived formonths and died of “colic.” In 1938 herchild was born dead because “a han’ truckfulla boxes run inta me two days before thebaby come.” In 1932 there was amiscarriage. “I couldn’t carry the baby‘cause I was sick.” She is ashamed of this. In1933 her baby lived a week. “Jus’ died. Idon’t know what of.” In 1934 she had nopregnancy. She is also a little ashamed ofthis. In 1935 her baby lived a long time, ninemonths. “Seemed for a long time like he wasgonna live. Big strong fella it seemed like.”She is pregnant again now. “If we could getmilk for um I guess it’d be better.”2

“The attitude of the workers on the largeranch is much that of the employer, hatredand suspicion. The worker sees himselfsurrounded by force. He knows that he canbe murdered without fear on the part of theemployer, and he has little recourse to law.…A man herded about, surrounded by armedguards, starved and force to live in filth loseshis dignity; that is, he loses his valid positionin regard to society, and consequently hiswhole ethics toward society.”2

BACKGROUND Notes

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Homes belonging to Okies, dust bowl refugees, Time & Life Pictures (Getty Images)Homes belonging to Okies, dust bowl refugees, Time & Life Pictures (Getty Images)

R eferred to in The New York Times as “one of theleading younger composers of songs,” Ricky IanGordon is a composer of unusual scope, equally at

home writing for the concert hall, opera, dance, theaterand film. When his opera, The Tibetan Book of the Dead,premiered in Houston, one critic said “… it revealed toHoustonians a composer with a facile but compellinggift for song. His opera was, to me, another excitingmoment in the accelerating emergence of a collectiveAmerican style of art music rooted equally in thecountry’s vernacular and cultivated traditions.”

Other credits for Mr. Gordon include My Life WithAlbertine, with Richard Nelson at Playwrights Horizons(cast recording, PS Classics), Dream True, with TinaLandau at the Vineyard Theater (recorded on PS

Classics), The Tibetan Book Of The Dead, with JeanClaude Van Itallie at Houston Grand Opera and theAmerican Music Theater Festival, Only Heaven, withLangston Hughes for Encompass Opera (recorded on PS

Classics), Stonewall/Night Variations, with Tina Landaufor En Garde Arts, States Of Independence, with Ms.Landau for the American Music Theater Festival, andAutumn Valentine, with Dorothy Parker for OperaOmaha’s 1992 Fall Festival. As composer-in-residence atthe Lyric Opera of Chicago in 2001 and 2002, he wroteMorning Star, with William Hoffman. On March 13,2001, at Lincoln Center, he was presented as part of theAmerican Songbook Series. The New York Times said, “If the

music of Ricky Ian Gordon had to be defined by a singlequality, it would be the bursting effervescence infusingsongs that blithely blur the lines between art song andthe high-end Broadway music of Leonard Bernstein andStephen Sondheim … It’s caviar for a world gorging onpizza.” Mr. Gordon’s songs have been performed andrecorded by many internationally known singersincluding Renée Fleming, Dawn Upshaw, AudraMcDonald, Kristin Chenoweth, Lorraine Hunt ➤

Librettist Michael Korie and composer Ricky Ian Gordon. Photo by Gregory Downer.

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RICKY IAN Gordonb Oceanside (Long Island), New York, May 15, 1956

MICHAEL Korieb Elizabeth, New Jersey, April 1, 1955

W riting for both opera and musical theater,Michael Korie wrote the lyrics to the newmusical Grey Gardens now playing on Broadway

at the Walter Kerr Theatre following its premiere Off-Broadway at Playwrights Horizons. Based on theMaysles documentary about the society recluses EdithBouvier Beale and her daughter “Little Edie,” with abook by Doug Wright, music by Scott Frankel,direction by Michael Greif and a heralded performanceby Christine Ebersole, it was awarded the Outer CriticsCircle Award for Outstanding Musical of 2006 and waschosen as the Time Magazine number one show of theyear. New York Magazine cited Korie’s lyrics as “thesharpest in town,” while Rolling Stone found it “anoriginal score with the power to live in your head longafter you leave the theater.” Also with composerFrankel, Korie wrote both book and lyrics to Doll,presented at the Ravinia Festival in a production theChicago Tribune called “an elegant show, fascinating andchallenging,” and the upcoming Meet Mister Future, setto premiere in Los Angeles in 2008. Followingdevelopmental productions at La Jolla Playhouse, his

lyrics to composer Lucy Simon’s music for the newmusical Zhivago will premiere abroad next season in afull production directed by Des McAnuff on London’sWest End with book by Michael Weller based onPasternak’s novel.

Korie has previously enjoyed writing lyrics tocomposer Ricky Ian Gordon’s songs performed live inconcert and broadcast from Lincoln Center’s Alice TullyHall and Los Angeles Disney Concert Hall conductedby Grant Gershon. The Grapes of Wrath is their first full-length collaboration. His libretti for operas withcomposer Stewart Wallace include Hopper’s Wife, whichpremiered at Long Beach Opera in a production MarkSwed in the Los Angeles Times called “brave, bold andimportant.” The experimental dance-opera Kabbalahpremiered at Brooklyn Academy’s Next Wave Festivalwith direction and choreography by Ann Carlson,recorded on Koch Classics. His first opera libretto,Where’s Dick?, brought together opera singers, musicalcomedy performers and new vaudevillians in aproduction directed by avant-garde pioneer Richard ➤

COMPOSER RICKY IAN GORDAN, CONTINUED ON PAGE 22

LIBRETTIST MICHAEL KORIE, CONTINUED ON PAGE 24

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GRAPES OF WRATH Q&A

MO: In his journal, Steinbecknoted his intention to write thenovel “in a musical technique.”It would be “symphonic in composition,” he wrote.

MK: For me it’s structuredlike an epic opera, in threeacts. Steinbeck’s writing is intensely rhythmic, language that leaps offthe page.

RIG: So much so that Iknew it had to be a ballad opera.

MO: When adapting a novel of this lengthfor the opera stage, in the words of MaJoad, “How to decide what stays, whatgoes?” Were you faithful to Steinbeck?

MK: Without being obsequious, wewanted to be faithful to the full narra-tive. We ended up including more ofthe story than the movie or theBroadway stage play which omitted agreat deal of Steinbeck’s historical andsocial context. We wanted to find away to keep it …

RIG: … And we realized that in anopera house, we had a powerful story-telling tool no other adaptive mediumhad at its disposal – the chorus. Itbecame a character we used to evokeSteinbeck’s narrative voice.

MK: We consolidated some of thecameo characters with the principals.An anonymous cropper woman wasthe basis for Ma Joad’s aria, “Us.” Wekept the entire Joad family.

RIG: And even expanded some ofthem – Noah, who simply walked offdown the river in the novel now has ascene which closes the second act.Without the novel’s prose description,we have to define the character bywhat he or she sings.

MK: We merged the terseness of the

dialogue with some of Steinbeck’sdescription so the characters wouldhave scenes they could sing.

RIG: Sadly, the turtle crossing theroad isn’t one of them.

MO: Ricky, you were commissioned to compose this opera because of your distinctlyAmerican style and your ease in movingbetween the worlds of musical theater andclassical music. Where do you see a distinction between those worlds?

RIG: When I’m composing, thosekind of distinctions don’t occur to me.I entered the story and let the storyenter me … and found the musicwhich felt right to me for this opera.At moments it has a more complex20th century European harmonicsound, but overall you want it to beeasy to enter … the way the book is.You could say, “I chose to write it in away that would be easy to enter,” butthat would be a lie because I didn’tchoose … I wrote it in my style …which I hope is easy to enter.

MO: The Steinbeck estate must have agreedbecause it turned down many other composersover the years who were seeking the rights.

RIG: Which is why I have to assumethat if I’m the one who was picked, allI have to do is be myself all over theplace and it’ll be the right thing. Andthis score is really me.

MO: How did you find the musical voice for each ofthese characters?

RIG: Often I see what thewords suggest to memusically by repeatingthem in natural speechrhythm. For Tom Joad, itwas “I keep my nose cleanof trouble.” So before Ieven know what the noteswill be, I know what themusical gesture is. With

Ma Joad, I was looking forutter simplicity – that groundedearth-mother quality. So for her, Ididn’t compose consecutively. Iskipped far ahead into the act andcomposed “Us” before I set her duetwith Tom, “Promise Me, Tommy.” Iselected key moments or musicalhotspots because once you havethem, you know what your thematicmaterial is.

MO: And Michael, you have written lyricsthat seem to leap out of Steinbeck, evenwhen paraphrasing whole chapters. How doyou find the right words?

MK: I waited months before I letmyself start writing. I wanted toabsorb the novel, and so I waited andwaited until the opening lyric of theopera came to me … “The last timethere was rain.” Everything that fol-lowed fell into place. Many of the keyphrases are Steinbeck’s. When I had tocondense or invent, I thought of whatthe characters would sing.

MO: How much of the opera have youaltered during rehearsals?

RIG: A lot of times an opera com-poser will submit the score with anote … “Nothing can be changed.”Michael and I are of the theater.We’re here shaping and trimmingour work because we won’t have theluxury of previews. Being in thatrehearsal room is previews. ❚

During rehearsals for The Grapes of Wrath, The Minnesota Opera sat down with composer Ricky Ian Gordon and librettistMichael Korie to discuss adapting the novel into an opera. The following is an abbreviated transcript of that discussion.

Composer Ricky Ian Gordon and librettist Michael Korie. Photo by Gregory Downer.

PROLOGUE

The cropper men and women recallthe devastation of their nativeOklahoma lands, brought about bydrought and economic depression.

ACT I

Tom Joad is paroled from McAlesterPrison after serving four years forkilling a man in a fight. After hitchinga ride, he runs into Jim Casy, an ex-preacher, and together they happenupon the nearly deserted Joad farm.The Dust Bowl has ravaged theDepression-era country, and the familyis gone; only Muley Graves, aneighbor, remains. He has taken refugethere as his own home was taken by thebank and trampled by a tractor.

Tom learns his family is up at UncleJohn’s – but not for long, as he too hasbeen evicted. They are all surprised tosee Tom out of jail, and he agrees torelocate with them in California whereit is rumored that there is work, evenif it means he must break his parole.

At the same time, Tom’s 16-year-old brother Al is buying the truckthat will make the 2,000-mile trek.Hucksters try to sell him a wreck,but the mechanically inclined teenfeels he’s made a good deal. Thefamily isn’t quite so sure.Nonetheless, Granma and Grampaare thrilled by their prospects outwest, while Ma laments the loss ofthe land and belongings that havemeant so much to them.

The next day, Grampa is a littleless exuberant, but the family loadshim up into the truck along withtheir few remaining possessions andheads down the plenty road withCasy along for the ride. Though all

remain optimistic, traveling alongRoute 66, Tom and the othersexperience their first disparagingremarks, now labeled as “Okies.”

As the Joads set up camp for thenight, they meet other travelers whohave handbills identical to Pa’s. Oneragged man has already been toCalifornia and reports that there is nowork left. In order to keep wages low,ranch owners print thousands ofhandbills when they only have a fewhundred jobs available. His entirefamily perished from famine. Elsewhere, dangling their feet off ahighway overpass, Connie andRosasharn watch the passing traffic.Connie admires the Lincoln Zephyr,while Rosasharn dreams of a home fortheir baby.

The next day the Joads soberlybury Grampa, who has died duringthe night. The family then continuestheir journey down the road.

– INTERMISSION –

ACT II

At a diner, a waitress chats withtruckers. Pa enters with Ruthie andWinfield in tow, and she looks atthem with contempt. They try to buya loaf of bread for Granma (who isnow sick) as they prepare to cross theMojave Desert, but they only have adime. At the urging of her husband,the waitress gives them the loaf at adiscount. Suddenly moved, shethrows in two lollipops for the kids.

As they cross the dry Mojave, themen drive the truck while Conniemakes amorous overtures to a reluctantRosasharn. Ma rests with Granma. Theold woman has died, but only Ma

knows it. The next morning, afterpassing through an inspection stationand reaching the beautiful TehachapiValley, the awful truth is revealed. Mahad promised Granma she’d be buriedin a green place.

At the Endicott Farm, the sceneflashes back to 1849. California settlerGeorge Endicott plants his first plumtree. In the present time, growersinform the Joads that there’s no workthere – the crop already has beenpicked. Another flash to 1924: GeorgeEndicott the grandson has become asuccessful businessman. Back in thepresent, the locals rally – with theinflux of Okie laborers, their wageshave been slashed. Nearby, plums arebeing burned – the farm grew toomany, and to drive up the price, theydestroy the excess, rather than givethem to the hungry croppers.

The Joads continue on, settling inHooverville, a squalid shanty town bythe railroad tracks. The family isdisgusted by their new surroundingsbut have little choice at the moment.Al angrily reproaches his slow-wittedbrother Noah for being more of aburden than a help. He wants tobreak off on his own, but Ma takescharge, insisting the family staytogether. Connie regrets leaving whatlittle he had in Oklahoma andderides Rosasharn’s hopeless dreamsof home and family. He storms off,never to return.

The next day a contractor and adeputy show up with more handbillsoffering work. Al is suspicious andCasy asks to see the contractor’slicense, causing a stir. When thesquatters refuse to go, the situationbecomes agitated. The deputy tries to

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Prologue – An open field Act II, sc. iv – Sunrise over the Tehachapi Valley Act II, sc. vi – Fire in the orchard (scenic design by Allen Moyer; photos by Mike Long)

Synopsis

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cuff Tom, but he escapes, and theensuing bullet meant for him hits anearby woman, killing her instantly.In the growing scuffle, the deputy isknocked unconscious and thecontractor runs for safety. As thedeputy comes to, Casy chooses to takethe blame, as the Joads make abeeline for the truck. Rosasharn isdistraught, for Connie hasn’t comeback. Noah goes to the creek to fetcha bucket of water and insteadsubmerges himself.

– INTERMISSION –

ACT III

Newly relocated at a governmentsettlement camp, Ruthie and Winfieldmarvel at a flushing toilet, the firstthey have ever seen. The camp makesthem feel like people again, thoughMa is startled to discover sheaccidentally has gone into the men’sroom. Inside the inner shower room,the Men’s Committee meets. Outside,the women gather as they washclothes, instructing Ma on the rules ofthe camp.

Rosasharn is now very pregnantand despondent over Connie’sdeparture. Ma tries to comfort herwith sage advice. Later, at the camphoedown, the Joads joyfully take partin a square dance. Vigilantes try tocause a disturbance, but the crowd,aware of their plan to create a riot,makes the expulsion of the intruderspart of the dance. When two deputiesarrive to break up what they thinkwill be a fight, they leavedisappointed. The local farm ownersare clearly unhappy with the camp’s

growing autonomy. Pa shows everyone a new

handbill with great enthusiasm,but the crowd respondsdishearteningly. Nonetheless,they prepare to pack – as good

as the camp may be, there is stillno way to make money for food aslong as they reside there.

At Hooper Ranch a strike is inprogress, but the Joads and othersare quickly ushered by the line,unaware they are scabs. As theypick the peaches, Tom questionswhat is happening beyond thefence, but is quickly silenced.Though thrilled to finally havesome money, Ma soon discovershow inflated prices are at thelocal commissary. Otherthings – ladders, housing,showers – also prove to beexpensive, and the Joads arebarely better off than theywere before.Later that night, Tom takes a

closer look at what’s going onoutside the fence. He discovers

a group of men, one of which is Casy,who leads the strike over poor wages.Vigilantes soon arrive and bludgeonCasy to death. Tom interferes and isslashed on the face. He in turn basheshis assailant, killing him.

Now a marked man, Tom has goneinto hiding and Ma smuggles himsome food. He announces his plan togo off on his own, and they share atender moment. The remaining Joadsfind work picking cotton and shelterin a boxcar. Just as the rainy seasonbegins, Rosasharn goes into labor,but delivers a stillborn child.

The raging river has nowswallowed its banks and flooded theJoads out of their home. Only Ma, Pa,Ruthie, Winfield and a very weakRosasharn remain and seek refugeinside a barn. There they find a boyand a starving, nearly dead man. Maintuitively knows what Rosasharnmust do, and ushers everyone elseback outside. Rosasharn nourishes theman with her breast. ❚

Costume sketches of Tom, Ma and Noah by Kärin Kopischke

Synopsis

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

Kelly MarkgrafFeatured EnsembleMinnesota Opera Resident ArtistRecentlyStreet Scene, Opera Theatre of St. LouisCarmen; Il barbiere di Siviglia; Madama Butterfly,

Pensacola OperaDie Fledermaus, Rimrock OperaCosì fan tutte; The Memory Game; The Village Singer,

Univ. of Cincinnati – College Conservatory of MusicDes Moines Metro Opera Apprentice ArtistUpcomingLakmé, The Minnesota Opera

Joshua KohlAl JoadMinnesota Opera Resident ArtistRecentlyLa donna del lago; The Tales of Hoffmann, Minnesota OperaTransformations, Merola Opera ProgramThe Land of Smiles, Atlanta Lyric TheatreLucie de Lammermoor; The Little Prince, Boston Lyric OperaDie Fledermaus; A Friend of Napoleon; A Soldier’s Promise; The

Violet of Montmartre; Maytime; Patience, Ohio Light OperaLa finta giardiniera; Roméo et Juliette, Boston UniversityUpcomingLakmé, The Minnesota Opera

Dan DressenGrampaMinnesota Opera DebutHansel and Gretel, 1983RecentlyThe Handmaid’s Tale; La traviata; Street Scene; Le nozze di

Figaro; Der Rosenkavalier; others, The Minnesota OperaThe Passion of Jesus of Nazareth; Intimations of Immortality;

The Fourth Wiseman; others, VocalEssenceCarmen; The Dream of Valentino, Washington OperaThe Company of Heaven, Aldeburgh FestivalUpcomingSongs of Innocence and Experience, VocalEssence

Anna JablonskiFeatured EnsembleMinnesota Opera DebutThe Merry Widow, 2002Recently2006 Merola Opera ProgramCosì fan tutte, PortlandNixon; Carmen; Maria Padilla; Magic Flute; Passion; Rigoletto;

Dutchman; La traviata; Handmaid’s Tale, Minnesota OperaUpcomingThe Grapes of Wrath, Utah Symphony & OperaMozart Requiem, Tallahassee SymphonyLe roi David; Stravinsky Mass, Carnegie Hall

Jesse BlumbergConnie Rivers

Minnesota Opera DebutRecently

2006 Santa Fe Apprentice ArtistIl barbiere di Siviglia, Rockland Opera

On Wings of Song recital, Marilyn Horne FoundationUK tour, Mark Morris Dance Group; Death in Venice, Glimmerglass

UpcomingThe Return of Ulysses, Opera Vivente (Baltimore)

Bach Cantatas, American Bach Soloists (San Francisco)Die schoene Muellerin (Austrian Embassy)

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Henry BushnellWinfieldMinnesota Opera DebutRecentlyWind in the Willows; Rags,

New Breath ProductionsTreasure Island, Capitol HillUpcomingOliver, Capitol Hill

Rosalind EliasGranma

Minnesota Opera DebutRecently

Cavalleria rusticana; La vida breve, Palm Beach OperaLes contes d’Hoffmann; Eugene Onegin; La fille du régiment;

Dialogues of the Carmelites; Le nozze di Figaro; Der Rosenkavalier; others, Metropolitan OperaSalome, Houston; Columbus; Baltimore Operas

Sweeney Todd, New York City Opera; Vanessa, Dallas OperaUpcoming

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Theodore ChletsosFeatured Ensemble

Minnesota Opera DebutMadame Butterfly, 2004

RecentlyGianni Schicchi, Opera Theater of New Jersey

The Elephant Man; Orazi e Curiazi; Don Giovanni; Carmen; Maria Padilla, The Minnesota Opera

Vanessa, Central City OperaAmahl and the Night Visitors, Minnesota Orchestra

Les contes d’Hoffmann; Student Prince; others, Central City Op.Upcoming

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Minnesota Opera DebutRecently

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Minnesota Opera DebutLa bohème, 2002

RecentlyMadame Butterfly; Thaïs, Boston Lyric Opera

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Minnesota Opera DebutRecently

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UpcomingThe Grapes of Wrath, Utah Symphony & Opera

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Il barbiere di Siviglia, The Minnesota OperaUpcomingThe Grapes of Wrath, Utah Symphony & Opera

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Robert OrthUncle John

Minnesota Opera DebutRosina, 1980

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Nixon in China, Opera Colorado; Cincinnati Opera

Deanne MeekMa Joad

Minnesota Opera DebutLittle Women, 2002

RecentlyAriadne auf Naxos, Teatro Real; Tulsa Opera; L. A. Opera

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Il trovatore, Bregenz FestivalUpcoming

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Maeve Coleen MoynihanRuthieMinnesota Opera DebutThe Handmaid’s Tale, 2003RecentlyEsperanza Rising; Pippi Longstocking;

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Les Miserables, Edina High School

Gregory PearsonFeatured EnsembleMinnesota Opera DebutRecentlyTosca; The Barber of Seville; The Mikado; La bohème,

Wildwood Opera FestivalThe Girl of the Golden West; Cold Sassy Tree; Otello,

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Andrew WilkowskeNoah

Minnesota Opera DebutTransatlantic, 1998

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Karin WolvertonFeatured EnsembleMinnesota Opera DebutLucia di Lammermoor, 2001RecentlyThe Rake’s Progress; The Tales of Hoffmann; Gloriana;

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Minnesota Opera DebutRecently

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Janice KimesChildren’s ChorusmasterMinnesota Opera DebutHansel and Gretel, 1981

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Kärin KopischkeCostume DesignerMinnesota Opera DebutLa bohème, 1996RecentlyOrazi e Curiazi, The Minnesota OperaSteppenwolf; American Conservatory Theatre; Goodman;

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photo notavailable

Wendall K. HarringtonVideo DesignerMinnesota Opera DebutTransatlantic, 1997RecentlyGrey Gardens; The Good Body; others, BroadwayArjuna’s Dilemma, Brooklyn Academy of MusicSnapshots, Elements QuartetThe Turn of the Screw, Royal Danish OperaThe Nutcracker, San Francisco BalletNixon in China, The Minnesota Opera; othersAnna Karenina, Royal Danish BalletA View from the Bridge (Bolcom), Lyric Opera of Chicago

Alexander FarinoProduction Stage ManagerMinnesota Opera DebutRigoletto, 1995Recently1996 – 2007 seasons, The Minnesota OperaHansel and Gretel; Candide, Minnesota OrchestraAcis and Galatea; Central Park; Tosca, Glimmerglass OperaA Funny Thing Happened on the Way to the Forum,

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Heidi Spesard-NobleAssistant ChoreographerMinnesota Opera DebutThe Merry Widow, 2002RecentlyOrazi e Curiazi*; Carmen*; La traviata*, Minnesota OperaMidlife: the Crisis Musical*, Brigadoon*; The Christmas Show*; Big

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Hunter; Allegro Brilliant, Minnesota Dance TheatreUpcomingLakmé *, The Minnesota Opera

* choreographer

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TBD4C

Doug VaroneChoreographer

Minnesota Opera DebutTransatlantic, 1998

RecentlyOrpheus and Euridice (Gordon), Lincoln Center Theater

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Artistic Director – Doug Varone and Dancers

Eric SimonsonStage Director

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Doug Scholz-CarlsonAssistant DirectorMinnesota Opera DebutDer Rosenkavalier, 2000RecentlyMefistofele, Theatre de la Jeune LuneCarmen; The Rape of Lucretia; The Handmaid’s Tale;

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Robert WierzelLighting DesignerMinnesota Opera DebutSnow Leopard, 1989RecentlyDon Giovanni, Seattle OperaJenufa, Glimmerglass OperaHappy End, American ConservatoryMacbeth, Vancouver OperaAgrippina, Virginia OperaOrpheus and Euridice (Gordon), Lincoln Center TheaterUpcomingGiulio Cesare, Seattle Opera

Allen MoyerSet Designer

Minnesota Opera DebutNorma, 1991

RecentlySalsipuedes; Abduction from the Seraglio, Houston Grand Opera

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UpcomingUn ballo in maschera, Opera Colorado; Minnesota Opera

Daphne, Santa Fe OperaOrfeo ed Euridice, Metropolitan Opera

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itself drawn, from the spiritual The Battle Hymn of the Republicand from Revelation, with the suggestion that God’srighteous fury could (and probably should) come at anytime. (The title was the brainchild of co-dedicatee CarolSteinbeck,who laboriously typedand edited the manuscript.) Theparallels to Exodus are alsoevident – the Joads leave“plague-ridden” Oklahoma tocross the Mojave Desert and endup in the Promised Land, led byTom Joad, recently returned afterhaving been banished for killinga man. But in a strange twist, hewho appears to be Moses, thoughjourneying down the river in a“basket,” is stillborn, and theJoad’s Eden is far from paradise(serpentine imagery is alsopresent), filled with scarcity,skitters, distrust and death. Eventhe name Joad has been interpreted as a variant of “Judah,”or by example of Okie-speak mispronunciation, the ever-suffering Job. An unwritten code of conduct becomes theMosiac Law of the camps – the right of privacy within the

tent, the right to feed the hungary or refuse help, the rightsof the pregnant and the sick above all else. The great floodcomes, but lacks a Noah – too simple to save the world

anyway, he takes a wrong turn atthe Colorado River and disappearsforever. And paramount to theentire narrative, Rosasharn’spowerful breast-feeding scene hasthe resurrective/restorative qualityof the Eucharist as well as thetraditional visual art compositionof the Pietà.There are the twelve Joads, the

twelve disciples (including oneJudas, Connie Rivers, lying outsidethe family gene pool), who followthe “Christ” figure, Jim Casy. Heshares his initials with the Messiahas well as a few other traits. Themost introspective character, Casyhas spent several years wanderingthe wilderness, a preacher who is

eager to spread his new doctrine to anyone who will listen,including a sometimes impatient Tom. Casy sacrificeshimself twice, once to take the place of Tom in prison ➤

BACKGROUND NOTES CONTINUED FROM PAGE 13

BACKGROUND NOTES CONTINUED TO PAGE 37

Migrant agricultural worker's family. Seven hungry children.Mother aged thirty-two (1936) Photograph by Dorothea LangeLibrary of Congress, Prints & Photographs Division, FSA/OWICollection, [LC-DIG-ppmsca-03055]

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Lieberson, Deborah Voigt, Andrea Marcovicci, HarolynBlackwell and Betty Buckley. Other recordings such astwo Nonesuch compact discs: Audra McDonald’s WayBack To Paradise and Bright Eyed Joy: The Songs Of RickyIan Gordon, and Water Music/A Two-Part Requiem on OfEternal Light, the Catalyst/BMG Classics CD with MusicaSacra conducted by Richard Westenberg. HarolynBlackwell, on the compact disc entitled Strange Hurt forRCA Victor, recorded Genius Child, a cycle of tenLangston Hughes settings.

Current projects include For My Family (for whichGordon is also the book writer and lyricist and whichhas already had a developmental workshop at TheSundance Theater Lab) and his orchestral song cycle andflowers pick themselves…, which uses five poems by e. e.cummings and premiered on October 29 in Michigan.

Mr. Gordon’s collaboration with choreographer SeánCurran, Art Song Dance, premiered at The Joyce Theaterin June 2005, and Orpheus and Euridice premiered as partof Lincoln Center’s New Visions Series American Songbookand Great Performers Series on October 5, 2005, withTodd Palmer as the clarinetist, Elizabeth Futral,soprano, and Melvin Chin as the pianist. Doug Varonedirected and choreographed. Peter G. Davis in New YorkMagazine wrote: “Both Gordon’s text and music arecouched in an accessible idiom of disarming lyrical

directness, a cleverly disguised faux naivete that always resolves dissonant situations with grace and a sure sense of dramatic effect – the mark of a born theater composer.”

Orpheus and Euridice won a 2006 OBIE Award. Thecitation read:

A musician, a dead lover, an extraordinary journey; you might thinkthis old tale has been told too many times, but one composer’spersonal passion, a choreographer’s startling imagination, and thecourage of a producer, created one of this year’s most movingtheatrical events in any genre. For their new visionary retelling ofthe tale of Orpheus and Euridice, the judges have awarded an Obieto Ricky Ian Gordon, Doug Varone and the Lincoln Center NewVisions program, Jon Nakagawa and Jane Moss producers.

On April 28–29, 2002, there were two sold-outconcerts of Mr. Gordon’s music at the GuggenheimMuseum as part of the Works and Process series, withAudra McDonald, Theresa McCarthy, Lewis Cleale andDarius DeHaas with Ted Sperling conducting. StephenHolden wrote:

As the singers performed more than 20 of Mr. Gordon's songs,the majority arranged by the composer for a 10-memberensemble conducted by Ted Sperling, the music bubbled and

COMPOSER RICKY IAN GORDAN, CONTINUED FROM PAGE 14

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Mounds Park AcademyCelebrating 25 years of excel lence.

PreK-12, college preparatory

St. Paul, MN, 651.748.5577

www.moundsparkacademy.org

Winter Open House

Sunday, February 11, 2007, 1-3:30 p.m.

Information Sessions

Grades PreK-4, Monday, March 5, 2007, 9-10:30 a.m.

Grades 5-12, Tuesday, March 6, 2007, 9-10:30 a.m.

cascaded like a mountain brook after aspring rain. Over and over, one had theimage of a boy skipping ecstaticallythrough fields and woods on a crisp April morning.

Mr. Gordon's love of poetry is evidentfrom the clarity and ease of flow ofsettings that rarely allow a word to getlost. Whether giving musical voice toHughes's urban angst or to Parker'scynicism, the composer instinctivelylooks for the silver lining. He turnsdespair into sadness and softens bitterinto wry. Several of his settings ofHughes's poems are inflected with JazzAge flavors that suggest the blues, but asplayed by a jazz band at a champagnereception on an ocean liner.— The New York Times, April 30, 2002 ❚

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Foreman for Houston Grand Opera. His libretto forHarvey Milk blended fact with fiction in dramatizingthe life and assassination of the slain San Francisco CitySupervisor. The opera premiered at Houston GrandOpera followed by productions at New York City Operaand Dortmund Opera in Germany. Revised after itsinitial performances, it premiered the following seasonat San Francisco Opera, conducted by DonaldRunnicles, directed by Christopher Alden and featuringRobert Orth in the title role (recorded on TeldecClassics). Writing of the libretto in the San FranciscoChronicle, Joshua Kosman called it “by turns hauntingand hilarious, brassy and mystically poetic,” whileEdward Seckerson in the London Independent cited thelibretto as “among the most accomplished I haveencountered in contemporary opera.” The text for thework’s 40-minute concluding requiem, Kaddish forHarvey Milk, was based on testimonies which Koriecollected in interviews with Milk’s surviving politicaland personal associates. Though truncated for the opera,it was performed in full as a separate work in a livebroadcast produced by the British BroadcastingCorporation (BBC). Also for the concert stage, Koriecreated the libretto for the evening-length A GayCentury Songbook to music by composer Larry Grossman,premiered at Carnegie Hall by New York City Gay

Men’s Chorus and recorded on DRG. Other experimentalconcert works with Korie’s text have been presented atthe Knitting Factory, p.s. 122 and La Mama.

Korie’s work has been awarded The Edward KlebanAward and Jonathan Larson Foundation Award. Two ofhis works have been presented as part of theGuggenheim Museum’s Works & Process series, and heis a three-time recipient of the Richard RodgersProduction Award administered by The AmericanAcademy of Arts and Letters. He and Frankel wereawarded this year’s ASCAP Richard Rodgers NewHorizons Award. He is a fellow of The MacDowellColony and The Blue Mountain Center and lives inNew York City with Ivan Sygoda. ❚

LIBRETTIST MICHAEL KORIE, CONTINUED FROM PAGE 14

The hidden language of the soul.

Music is the universal language that enriches our lives. It bridges the gaps and barriersbetween us. And somehow, it makes the world seem smaller and more intimate.

At Ameriprise Financial, we are proud to support and celebrate the Minnesota Opera.

Ameriprise Financial Services, Inc., Member NASD and SIPC. © 2007 Ameriprise Financial, Inc. All rights reserved.

ameriprise.com

NEW AD COMING

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THE MINNESOTA OPERA Chorus

THE MINNESOTA OPERA Orchestra

Kyle AlbertsonAlison BatesKorey BickelKaren BushbyAndrea Coleman Ben CrickenbergerSteve DahlbergJen EckesAndy ElfenbeinCarole FinneranPeter FrenzBrandon Glosser Tracey GormanJamie-Rose GuarrineKate HaugenMichelle HayesRobin Helgen James HowesKathleen HumphreyBen JohnsonTor JohnsonBrian JorgensenRoy Kallemeyn

Maggie LofboomElizabeth LonghurstSandy HendersonEric MahutgaTom MatchinskyEric MellumCortez Mitchell Ed MoutMatt NeilJanet PaoneRick PenningNili RiemerSteve SandbergJoy ScheibBob SchmidtCathy SchmidtSandy SchoeneckerJoel SwearingenHugo VeraEric VollenKevin WernerSarah Wigley

SUPERNUMERARIESAshley FussNoah GilbertsonKenny KiserKacie RiddleDavid RossAlex SundvallDavid Wiles

ARTISTScovering principal rolesKyle Albertson – NoahAshlee Fuss – RuthieNoah Gilbertson – WinfieldJamie-Rose Guarrine –

RosasharnKathleen Humphrey –

GranmaKelly Markgraf – Tom Joad

Violin I Allison Ostrander

ConcertmasterJulia PersitzDavid MickensAngela Waterman-HansonJudy Thon-JonesAndrea EenConor O’Brien Alistair BrownHuldah NilesLydia Miller

Violin II Stephan R. OrsakElizabeth DeckerMelinda Marshall Carolin Kiesel Johnson Helen Foli Giselle Hillyer Lindsay EricksonJill H. Olson

Viola Annette CaruthersVivi EricksonLaurel Browne Jenny Lind Nilsson Susan JandaJim Bartsch

Cello John EadieRebecca AronsThomas AustinSally Dorer Fang-Yu LiangBrian Kubin

Bass John Michael Smith Constance MartinJason C. Hagelie

Flute Michele Frisch Amy Morris

double piccolo

OboeMarilyn Ford Tina James

double English horn

ClarinetSandra Powers Nina Olsen

double Eb and bass clarinet

BassoonCoreen Nordling Laurie Hatcher Merz

double contrabassoon

SaxophoneJared Ziegler, altoBill Olson, tenor/baritone

HornCharles Kavalovski Charles HodgsonNeal BolterLawrence Barnhart

TrumpetJohn G. KoopmannChristopher VolpeDavid Chapman

TrombonePhillip A. OstranderJohn Tranter David Stevens

TubaRalph Hepola

TimpaniKory Andry

PercussionMatthew BarberSteve Kimball

SynthesizerTom Linker

Acoustic Guitar/BanjoBobby Stanton

HarmonicaNoah Hoehn

HarpMin J. Kim

Personnel ManagerSteve Lund

TBD

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UPPER MIDWEST REGIONAL

AUDITIONS

Saturday, February 17

12 noonOrdway Center

for the Performing Arts

ALL AUDITION EVENTSARE FREE AND OPEN

TO THE PUBLIC.

Call Judith Boylan,MN District Director, for more information (763.476.2372).

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RBD4C

Education AT THE OPERA

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Project OperaViva Verdi!Project Opera’s Giovaniperformed with theMinnesota Orchestra inViva Verdi, a YoungPeople’s concert November 8–10, 2006.

Resident Artists AlisonBates and Hugo Veraalso performed scenesfrom La traviata.

Apprentice RecitalOn January 14th theOpera’s Apprentices performed a recital at the MinneapolisInstitute of Arts. They performed artsongs by Léo Delibes along with music ofThe Grapes of Wrath composer, Ricky IanGordon. The Apprentice program is madeup of a select group of three talentedsingers and an accompanist from ProjectOpera. You can also see the Apprenticesin the chorus of Lakmé.

Apprentices receive coaching from Ricky Ian Gordon

Summer Opera Camp auditionsSave the date – Sunday, April 15 will beauditions for the Opera’s third annualsummer opera camp. Boys and girlscurrently in grades 9–12 are encouragedto audition. Call Jamie Andrews at612.342.9573 for more information.

Day at the OperaWednesday, Feb. 21, 2007 will be ournext “Day at the Opera.” This eventgives high school singers a look behindthe scenes of the professional world ofopera, through singing in a masterclass, meeting the artists, touring theOpera Center and more. Boys and girlsinterested in participating need only arecommendation from their voice orchoir teacher. Call Jamie Andrews at612.342.9573 for more information.

Photo by Mele Willis

Photo by Mele Willis

Photo by Mele Willis

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Good listening {TAKES PRACTICE.}

Crocus Hill Office

Nancy Meeden651.282-9650

Adult EducationLakmé, March 19, 2007, 7:00-9:00 PMLéo Delibes wrote some 30 worksfor the stage, but only three orfour live today: the ballets Coppeliaand Sylvia, and the operas Lakméand La roi l’a dit. Lakmé fulfilledhis ambition to write a successfulserious opera. From the beginningit attracted the finest sopranos ofthe day, from Adelina Patti to JoanSutherland. We’ll listen to historicand contemporary recordings ofDelibes’ stunning vehicles for thecoloratura soprano voice, includingthe Bell Song and the FlowerDuet. We’ll also look into thestrict hierarchy of 19th centuryParis opera: how and where particular works were produced,who ruled the roost in Delibes’time and which contemporariessupported him or disdained him.Minnesota Public Radio’s BillMorelock will present this class.

Guest Lecturer Known in public radio circles forhis remarkable ability to relate classical music to contemporaryconsciousness, Bill Morelock hostsweeknight programming onMinnesota Public Radio, includingOpen Air on Tuesdays and TheOpera on Wednesdays. From 1999until 2004, Morelock showcased hisstorytelling abilities as host ofDrivetime Classics on WCAL. Hebegan his career at NorthwestPublic Radio in Pullman,Washington. There, he and BobChristiansen created and hostedBob and Bill, which eventually“went national” as a daily classicalseries from National Public Radio.Later, the program migrated to St.Paul and Minnesota Public Radio.The pair received a Gold Award formusic programming from theCorporation for PublicBroadcasting in 1989.

Education AT THE OPERA

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Platinum $7,500–$9,999AnonymousRusty and Burt Cohen David Hanson and William BiermaierSharon and Bill HawkinsNelson Family FoundationTimothy and Gayle OberConnie and Lew RemeleVirginia L. and Edward C. Stringer

Gold $5,000-$7,499Anonymous (2)Eric and Tracy AanensonMartha Goldberg Aronson and

Daniel AronsonMartha and Bruce AtwaterDaniel and Christine BussKathleen and William CallahanRachelle Dockman ChaseCleveland FoundationDr. James E. and Gisela CorbettThe Denny Fund of The Minneapolis

FoundationDavid and Vanessa DaytonMary Lee DaytonDoerr Family FundChip and Vicki EmeryBrad and Diane EnglandTom and Lori FoleyMr. and Mrs. John ForsytheConnie Fladeland and Steve Fox

Denver and Nicole GilliandMeg and Wayne Gisslen*Alfred and Ingrid Lenz HarrisonKaren and John HimleBryce and Paula JohnsonErwin and Miriam KelenMichael F. and Gretchen G. Kelly and

the Kelly Family FoundationMr. and Mrs. Donald LuckerMs. Becky MalkersonTed and Roberta Mann

FoundationDiana and Joe MurphyElizabeth Musser Trust—Fir Tree FundAlbin and Susan NelsonDwight D. Opperman*Brian and Julia PalmerDebra J. PatersonMary Ingebrand PohladStephanie Prem and Tom OwensRedleaf Family Foundation*Fred and Gloria SewellKevin and Lynn SmithThe Staryk Family FoundationMitchell and Kendall StoverMr. and Mrs. James SwartzCatie Tobin and Brian Naas

Silver $2,500–$4,999Anonymous (2)Kim A. Anderson

Lowell Anderson and Kathy WelteAlexandra O. BjorklundChristopher BurnsSteve ChirhartDr. Stephen and Beth CragleLisa and Patrick DenzerThomas and Mary Lou DetwilerMona Bergman Dewane and

Patrick DewaneSally J. EconomonSusan Engel and Arthur Eisenberg*Rolf and Nancy EnghRondi Erickson and Sandy LewisLeslie and Alain FreconChristine and W. Michael GarnerMr. and Mrs. R. James GesellMrs. Myrtle GretteFrank Guzzetta*Mr. and Mrs. Gary HolmesDorothy J. Horns, M.D., and

James P. RichardsonKen and Tina HughesJay and Cynthia IhlenfeldDale A. JohnsonJacqueline Nolte JonesRobert and Susan JosselsonStan and Jeanne KaginPaul and Sarah KaronLyndel and Blaine KingMrs. James S. KochirasConstance and Daniel Kunin

David MacMillan and Judy KrowDebra and James LakinHelen and Benjamin LiuMahley Family FoundationBecky MalkersonRoy and Dorothy Ann MayeskeJames and Judith MellingerRichard and Nancy NicholsonRuth and Ahmad Orandi*Luis Pagan-CarloWilliam and Barbara PearceJodi and Todd PetersonMarge and Dwight PetersonMr. and Mrs. William PhillipsRobert and Mary PriceMary and Paul ReyeltsLois and John RogersKen and Nina RothchildSampson Family Charitable

FoundationKay Savik and Joe TashjianRobert L. Lee and Mary E. SchaffnerDrs. Joseph and Kristina Sha∂erFrank and Lynda SharbroughJulie and Bruce SteinerTanrydoon Fund of The Saint Paul

FoundationWilliam Voedisch and Laurie CarlsonCharles Allen Ward Fund of

The Saint Paul FoundationNancy and Ted Weyerhaeuser

Camerata Circle

Bel Canto CirclePlatinum $20,000 and aboveMary and Gus BlanchardJulia W. DaytonSara and Jock Donaldson*John and Ruth HussLucy Rosenberry JonesPatricia LundMr. and Mrs. George MairsStephanie 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*Ellie and Tom Crosby, Jr.Susan and Richard CrockettDolly J. FitermanN. Bud and Beverly Grossman

Foundation*Heinz and Sisi HutterMr. and Mrs. Philip Isaacson*

The Art and Martha Kaemmer Fund ofHRK Foundation*

Warren and Patricia Kelly*Mary Bigelow McMillanElizabeth and Andrew Redleaf

Silver $10,000–$14,999Anonymous (2)Rebecca Rand and E. Thomas BingerSusan BorenJane M. and Ogden W. ConferMary Dearing and Barry Lazarus

Cy and Paula Decosse Fund of The Minneapolis Foundation

Peter J. KingIlo and Margaret LeppikMr. and Mrs. B. John Lindahl, Jr.Lynne LooneyThomas and Barbara McBurneyHarvey T. McLainMrs. Walter MeyersBruce and Sandy NelsonJose Peris and Diana GuldenBernt von Ohlen and Thomas Nichol

$1,000–$2,499Anonymous (4)Floyd AndersonPaula A. AndersonJohn Andrus, IIINina and John ArchabalSatoru and Sheila AsatoMr. and Mrs. Edmund P. BabcockRuth and Dale BachmanDr. Thomas and Ann BagnoliJames Baldwin and Mary AtmoreDr. Donna L. BlockMrs. Paul G. BoeningMargee and Will Bracken*Jan and Ellen BreyerJudith and Arnold BrierConley Brooks FamilyElwood F. and Florence A. CaldwellBruce and Deanna CarlsonJoan and George CarlsonJoe and Judy Carlson

Terry Carlson and Jeanette Leehr*Wanda and David ClineDebra Cohen and Larry Lamb*Jeff and Barb Couture Mrs. Thomas M. Crosby Sr.Wendy and Jeff Danke Fran DavisJudson DaytonRuth and Bruce DaytonClaire and Jack DempseyJohn and Maureen Drewitz, in

memory of Helen HinesEster and John FeslerMr. and Mrs. John ForsytheSalvatore Silvestri FrancoPatricia R. FreeburgJames and Mary FreyTerence Fruth and Mary McEvoy Family

Fund of The Minneapolis FoundationBradley A. Fuller and Elizabeth LincolnDavid and Kathy Galligan

Cecilie and Emanuel Gaziano*Lloyd and Mary Ann GerlachDick and Mary GeyermanLois and Larry GibsonHoward and Heidi GilbertAmy R. and Philip S.

Goldman FoundationMichael and Elizabeth GormanSarah and Joe GreenClark and Sima GriffithThe Hackensack Fund of the Saint

Paul FoundationRosalie Heffelfinger Hall Fund of

The Minneapolis FoundationDrs. Greg and Angie HatfieldDon HelgesonJohn and Rosmarie HellingCliffton K. Hill and Jennifer WoolfordDiane HoeyJohn and Jean McGough HoltenDr. and Mrs. Arthur Horowitz

Andrew and Margaret HoultonBill and Hella Mears HuegMr. and Mrs. Thomas HullEkdahl Hutchinson Family Fund of

The Minneapolis FoundationChuck Jakeway and

Theresa Williams JakewayJames Jelinek and Marilyn WallLinda JohnsonSamuel L. Kaplan and

Sylvia Chessen KaplanDr. Markle KarlenE. Robert and Margaret V. Kinney

Fund of The Minneapolis FoundationKenneth Kixmoeller and Kim OtnessJulie and Steve KlapmeierMr. and Mrs. William KlingGerard KnightLisa C. KochirasMaria KochirasRobert Kriel and Linda Krach

Artist Circle

It is with deep appreciation that The Minnesota Opera recognizes and thanks all of the individual donors whose annual support helpsbring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support providesthe 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.

THE MINNESOTA OPERA Annual FundINDIVIDUAL GIVING

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Gold $750–$999Joe Dowling and Siobhan ClearyJames and Debra LakinCheryl Kreofsky and Michael FitzgeraldJoan and Richard NewmarkPaula PatineauJames and Andrea RubensteinKeith and Catherine StevensonFrank and Frances Wilkinson

Silver $500–$749Anonymous (2)Genevive AntonelloWoodbury H. and Cynthia AndrewsQuentin and Mary AndersonJamie Andrews and Jane Kolp-AndrewsSatoru and Sheila AsatoMrs. Gordon J. BaileyFred Amram and Sandra BrickRuth and Dale BachmanJames and Gail BakkomDonald and Naren BauerMrs. Harvey O BeekBarbara S. BelkSue A. BennettGerald and Phyllis BensonMichael and Paige BinghamFred and Carolyn BogottMarvin and Betty Borman FoundationThomas and Joyce BrucknerPatrick and Kirsten Burton

Gerald and Sarah CarusoPaul CavallBruce and Ann ChristensenJoann M. D. CierniakJ.P. CollinsEdward Conway and Kathleen JerdeBill and Kate CullenAmos and Sue DeinardMr. Steven A. DiedeJoyce and Hugh EdmondsonBrad and Diane EnglandHerbert and Betty FantleCatherine C. FinchDonald and Gail FiskewoldDavid GilberstadtDr. Stanley M. and Luella G. GoldbergAlan and Lynn GoldbloomRobert Goodell and Renee BrownPaul and Margot GrangaardDeanne and John GrecoMarjorie and Joseph GrinnellBruce and Jean GrussingRoger L. Hale and Nor HallRuth E. HanoldFrederick J. Hey Jr.Franz and Jeannie HofmeisterJoe and Nancy HolmbergThomas Hunt & John WheelihanDavid and Sally HyslopDiane and Paul JacobsonAndrzej and Urszula Jaworski

Mrs. Owen JenkinsDr. and Mrs. Charles R. JorgensenJane and Jim Kaufman Fund of

The Minneapolis FoundationJessie L. KellyCarole and Joseph KillpatrickJohn C. KimSteve and Jolie KlapmeierShannon Krygiel and David KellerCharlie and Sally LanninRoy and Mary LetourneauJonathan and Lisa LewisRebecca LindholmJoan E. MaddenDonald and Rhoda MainsTom and Marsha MannRobert and Catherine McGeachieDr. and Mrs. William W. McGuireL. David MechOrpha McDiarmid Family FundCharles and Victoria MogilevskyMr. John MurphyTheresa and Jim MurrayLucia NewellLowell and Sonja NoteboomBradley NussDennis R. OlsonMr. and Mrs. G. Richard PalenDan and Pat PanshinKern and Kathryn PetersonElsie L. Quam

Dan and Kari RasmusLawrence M. RedmondAnn M. RockLiane A and Richard G. RoselJanet and Bill SchaederJanet SchalkJames SchellMahlon and Karen SchneiderMarcia and Stephen SchultzJanet and Irving ShapiroPeter and Bonnie SipkinsJim and Cindie SmartClifford C. and Virginia G. SorensenDaniel J. SpiegelJon Y. SpoerriWarren StortroenRoxanne Stouffer and Joseph CruzJoanne Strakosch and William UmscheidDana and Stephen StrandBrian and Mia SullivanCindy VilksWill and Li VolkElaine B. WalkerThe Wallin FoundationDavid M. and Mary Ann Barrows WarkJames and Sharon WeinelLani Willis and Joel SpoonheimChristine Wolohan*Includes Gala Fund-a-Dream support.

Patron Circle

Helen L. KuehnAnita KuninMark and Elaine LanderganCarl Lee and Linda Talcott LeeSusan LentheSid and Diane LevinMichael and Diane LevySy and Ginny Levy Family Fund of

The Minneapolis FoundationJerry and Joyce LillquistBill LongDawn M. LovenDr. W. Richard and Lois MarshMargery MartinRoy and Dorothy Ann Mayeske

Charles McCrossanSamuel and Patricia McCulloughSheila McNallyDrs. Mary and Joseph MelandWilliam MesserliAnne W. MillerSandy and Bob MorrisElizabeth B. MyersSusan OkieAllegra W. ParkerKaren B. PaulWilliam and Suzanne PayneJames J. Phelps and

Nancy McGlynn PhelpsSally and George Pillsbury

Drs. James and Constance PriesKevin and Sara RamachElin and Tim RaymondFrances and George ReidKit Reynolds and Mike SchwimmerJohn and Sandra RoeThomas D. and Nancy J. RohdeGordon and Margaret RosineMr. and Mrs. Steven RothschildMrs. John C. RowlandLeland T. Lynch and Terry Saario Fund

of The Minneapolis FoundationPatty and Barney SaundersJim ScarpettaDr. and Mrs. Richard J. Schindler

The Harriet and Edson Spencer Fundof the Minneapolis Foundation

Stanislaw and Krystyna SkrowaczewskiJeff and Helene SlocumDon and Leslie StilesRobert and Barbara StruykJames and Susan SullivanHenry and Virginia SweattMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonEmily Anne and Gedney TuttleRobert Harding and Allan ValgemaeMr. and Mrs. Philip Von BlonEllen M. Wells

Artist Circle (continued)

THE MINNESOTA OPERA Annual FundINDIVIDUAL GIVING

These lists are current as of January 1, 2007, 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 EconomonEster and John Fesler

Paul FroeschlRobert and Ellen GreenIeva Grundmanis (†)Norton M. HintzJean McGough HoltenCharles HudginsDale and Pat JohnsonRobert and Susan JosselsonMrs. Markle Karlen (†)Steve KellerMary KeithahnBlaine 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 LillquistMary Bigelow McMillanMargaret 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 orestate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If you have already made such aprovision, 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

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Corporations and Foundations

Minnesota Opera Sponsors

Sponsors $25,000+ 3MAmeriprise FinancialThe Bush FoundationFAF AdvisorsGeneral Mills FoundationThe MAHADH Fund of HRK FoundationThe McKnight FoundationOPERA America’s Opera FundSt. Paul TravelersTarget FoundationU.S. Bancorp FoundationU.S. Bank, Private Client GroupWells Fargo Foundation Minnesota

Platinum $10,000-$24,999Allianz Life Insurance of North AmericaFred C. and Katherine B. Andersen FoundationCargill FoundationDeloitteDeluxe Corporation FoundationDorsey & Whitney FoundationEcolab FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationLowry Hill Private Wealth ManagementThe Medtronic FoundationMTS CorporationBNSF FoundationPiper Ja∂rayRBC Dain Rauscher FoundationSpencerStuartSUPERVALU Stores, Inc.Thrivent Financial for Lutherans FoundationTwin Cities Opera Guild U. S. Trust Company Wenger Foundation

Gold $5,000-$9,999ADC TelecommunicationsBemis Company FoundationBoss FoundationBriggs and MorganCaldrea CompanyEducation Minnesota FoundationFaegre & BensonR. C. Lilly Foundation

Northern TrustOnan Family FoundationPentair FoundationCarl and Eloise Pohlad FoundationRahr FoundationSquam Lake FoundationSchwegman, Lundberg, Woessner & Kluth, PAValspar FoundationXcel Energy Foundation

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

FoundationHutter Family FoundationAlice M. O’Brien FoundationThe Elizabeth C. Quinlan FoundationMargaret Rivers FundM&I BankParsinen, Kaplan, Rosberg & Gotlieb PARobins, Kaplan, Miller & CiresiSewell Family FoundationTennant Foundation

Bronze $1,000-$2,499Arts & Custom Publishing Co., Inc.Best Buy Children’s FoundationBrock-White Co., LLCBurdick-Craddick Family FoundationDigital Excellence, Inc.Hammel, Green and Abrahamson, Inc.Hardenbergh FoundationThe Hays CompaniesHogan & HartsonLeonard, 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 FoundationCharles B. Sweatt FoundationTozer FoundationThe Wood-Rill Foundation

Season SponsorFAF Advisors and U.S. Bank

Production SponsorsLa donna del lago, FAF Advisors and U.S. BankThe Tales of Hoffmann, TargetThe Grapes of Wrath, Ameriprise Financial (national

presenting sponsor), Ruth and John Huss, TheShen Family Foundation, The Carlyle Fund andSeaver Institute, National Endowment for the Arts,OPERA America; media sponsors: Comcast, StarTribune, WCCO Radio

Lakmé, Ameriprise FinancialThe Marriage of Figaro, Wells Fargo

Conductor AppearancesSpencerStuart

Camerata Dinners and Meet the ArtistsLowry Hill Private Wealth Management

Opening Night Gala SponsorsTargetOkabena AdvisorsU.S. Bank

Opera InsightsThrivent Financial for Lutherans Foundation

Production Innovation SystemGeneral Mills

Promotional SupportMinnesota Monthly

RAP Teaching ArtistsWenger Foundation

YPG Opera Nights Out Official VenueMatty B’s Supper Club

Official FloristWisteria Design Studio

$10,000 – $24,999

$25,000 – $49,999

$50,000 – $99,999

$100,000 +

The Minnesota Opera gratefully acknowledges

its major corporate supporters:

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

SM

THE MINNESOTA OPERA Annual FundINDIVIDUAL GIVING

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COMING UP: Lakmé

Cultures collide in Léo Delibes’ MYSTICAL and SUMPTUOUS tale of ill-fated love. Lakmé, the daughter of a Brahmin priest, falls hopelessly inlove with the British officer Gérald, who, unwittingly breaking a sacredtaboo, seals their fate. A 19th-century romantic treasure that was once astar vehicle for Lily Pons at the Met, Lakmé was originally directed byAdam Cook and designed by Mark Thompson in a spectacular productionfor Opera Australia that brings the color and exoticism of Imperial Indiato Minnesota for the first time.

“It’s a thrill to introduce Youngok Shin to Minnesota Opera audiences,” said Artistic Director Dale Johnson. “This brilliant soprano from Korea hasbeen a leading lyric coloratura of the Metropolitan Opera for more thanten seasons, appearing in major tour-de-force roles like Gilda in Rigoletto,the title role in Lucia di Lammermoor and Elvira in I puritani. She’s one of theworld’s foremost interpreters of the role of Lakmé. Her silvery, alluringvoice is perfect for this 19th-century French repertoire, and I think she willbe embraced by our audience.”

Sung in French with English translations projected above the stage.Lakmé is sponsored by Ameriprise Financial.

March 31 (7:30 pm), April 1 (2:00 pm), April 3, 5, 7 (7:30 pm)

Tickets are now available online at www.mnopera.org or by calling 612-333-6669.

Youngok Shin in Lakmé, courtesy Baltimore Opera Company. Photo by Stan Barouh Photography.

YOUNGOKSHINLakmé

“Korean soprano dazzles.”– The New York Times

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Cultivating anew generationof opera-goers in the TwinCitiesThe Young ProfessionalsGroup is a membershipprogram for both new andveteran opera-goers intheir 20s and 30s.

For only $30, YPGmembership entitles you topriority access to YPG eventsand the steepest ticketdiscount the Opera offers –apair of $30 Opera Night Outseats (a savings of up to $62per ticket!) for each opera,which includes a post-partyfollowing the performance.

email ypg@mnopera.org, call

612-333-6669 or download a

membership form at

www.mnopera.org/ypg.htm Matty B’s Super Clubis the official venuefor Opera Nights Out

Opera Nights OutSaturday, Feb. 17, 2007, 7:30 pm:The Grapes of Wrath

Saturday, Apr. 7, 2007, 7:30 pm:Lakmé

Saturday, May 12, 2007, 7:30 pm:The Marriage of Figaro

Young Professionals Group 2006-2007 Events CalendarGreat opera seats and events for the 20s & 30s crowd

Join:

and again by the blunt force of a bully who doesn’tunderstand his teachings, his final words a minormodification of Christ’s: “You don’ know what you’re a-doin’.”3 Developing a socialist agenda that gives way tostrike and unionization, Casy imagines the new world as abrotherhood of equals rather than a hierarchy of oppressorand the oppressed. Tom, while isolated in his womblikecave, germinates on these ideals (“He talked a lot. Used tabother me. But now I been thinkin’ what he said, an I canremember – all of it.”3) After Ruthie reveals his crime to herplaymates, Tom goes out on his own to become Casy’ssuccessor in a mission to bring together a larger community(his role as the new saviour presaged by his prison nickname“Jesus Meek”), preaching socialism as an alternative to faith.

Contradicting its Biblical overtones, The Grapes of Wrathseems to recognize the futility of religion in favor of agreater collective organism. Ma Joad, the pagan earthmother, who views women as “all one flow, like a stream …[that] goes right on … [and] ain’t gonna die out,”3

experiences her own independent growth in this regard justas the patriarch Pa is pushed aside in the familial peckingorder. At first, she is fiercely devoted to keeping their unityintact, to the exclusion of any reason. But through exchangeswith the Wilsons (absent in the opera, they help care for,then bury Grampa), then the Wainwrights (for simplicity’ssake, also eliminated from the opera – boxcar neighbors,

they help with Rosasharn’s birthing and Al becomesaffianced to their daughter Aggie) and others in between,she comes to realize that she has traversed from “famblyfust” to “anybody.” Ma passes the mantle to her daughter ina passage to womanhood – the piercing of ears. For her part,the previously whiney and selfish Rosaharn begins totransform on her own, looking beyond the needs of herdiminished immediate family (does she intend to completethe task by inducing a miscarriage, picking cotton in hereighth month after learning of Aggie and Al’s happyengagement?), culminating in her assistance to a starvingman, with Madonna poise and a Mona Lisa smile. Anunclimactic, enigmatic ending occurs after a long andsuspenseful final chapter, with a cleansing flood leaving theremaining Joads at their most desperate, but alsoundefeated, with a promising future in the wider realm of aunited human race. ❚

1 Working Days: The Journals of The Grapes of Wrath edited by RobertDeMott. New York: Viking Press, Inc.. © 1989.

2 The Harvest Gypsies by John Steinbeck. San Francisco News, © 1936.

3 The Grapes of Wrath by John Steinbeck. New York: Viking Press, Inc.,© 1939.

BACKGROUND NOTES CONTINUED FROM PAGE 21

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The Schubert ClubMuseum of Musical Instruments

Free AdmissionMonday through Friday

11:00 AM to 3:00 PMSunday

1:00 to 5:00 PMww

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Landmark Center75 West Fifth Street

Downtown Saint PaulLower Level & Second Floor

The Schubert Club

Early Music SeriesThe Bach Society of Minnesota Bach Brandenburg ConcertosSaturday, February 10, 8 PM • Sundin Music Hall

Ensemble CapriceLes Sept Sauts: Baroque Chamber Music at the Court of StuttgartSaturday, March 18, 3 PM • Sundin Music Hall

David Breitman, fortepianoFriday, April 27, 8 PM • The Music Room, SPCO Center

www.schubert.org • 651-292-3268

1542 Italian spinet

1790 letter from Mozart