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OVERTURE MAGAZINE | DEC 2014- 1 -

JANUARY 2015

magazine

OVERTURE MAGAZINE | DEC 2014 - 2 -

Toi, toi, toi,to all those involved in the Cedar Rapids Opera Theatres production of Don Giovanni especially all the Mount Mercy University faculty and students!

DON GIOVANNIJANUARY 16, 8 P.M. | JANUARY 18, 2 P.M.

Paramount Theatre

DR. DANIEL KLEINKNECHT

MMU Associate Professor of Music

CROT Founder, Artistic Director & Conductor

TONY NICKLE

MMU Piano Faculty

CROT Production Manager,

Pianist & Outreach Music Director

DR. GERALD KREITZER

MMU Director of Music Activities

CROT Chorusmaster

1330 Elmhurst Drive NE

Cedar Rapids, Iowa 52402-4797

319-363-8213

WWW.MTMERCY.EDU


Toi, toi, toi,to all those involved in the Cedar Rapids Opera Theatres production of Don Giovanni especially all the Mount Mercy University faculty and students!

DON GIOVANNIJANUARY 16, 8 P.M. | JANUARY 18, 2 P.M.

Paramount Theatre

DR. DANIEL KLEINKNECHT

MMU Associate Professor of Music

CROT Founder, Artistic Director & Conductor

TONY NICKLE

MMU Piano Faculty

CROT Production Manager,

Pianist & Outreach Music Director

DR. GERALD KREITZER

MMU Director of Music Activities

CROT Chorusmaster

1330 Elmhurst Drive NE

Cedar Rapids, Iowa 52402-4797

319-363-8213

WWW.MTMERCY.EDU

Orchestra Iowa is music to our ears.

The Gazette and KCRG-TV9 are proud to support arts & culture

in our community.


GreatAmerica is proud to support the performing arts in the Cedar Rapids community.


DavenportIowa City

Ottumwa

Cedar Rapids

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Cedar Falls

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Coralville

Dear Friends:

After almost seven seasons together, the time has come for me to step away from Orchestra Iowa and begin a new chapterin my career. I have been named President and CEO of the Jacksonville Symphony and while my family will be relocatingto Florida and trading in snowmen for sand castles, we will always cherish our time here with you.

I want to express my sincere gratitude for your part in our incredible journey toward artistic excellence and financial stability. You followed us to Sinclair Auditorium after the flood destroyed our home venue. Your voices were instrumental in helping convince City leaders to restore the Paramount Theatre with the enhancements enjoyed today. You have enthusiastically championed exciting new additions to our season such as ballet, opera and musical theatre. Your generous support of this institutions artistic productions and educational programs has allowed us to expand our reach.

Though I will miss you all terribly, I know I leave you in good hands. Orchestra Iowa has an incredibly dedicated board made up of those in our community dedicated to enhancing symphonic music in our region. Their advocacy and support have taken this institution to new levels. Our fabulous musicians (all professionals, all paid and all having won their positions through competitive audition) are playing at such great heights that the music programmed today literally would not have been possible five years ago. The staff is the backbone of the organization. Working diligently and quietly behind the scenes, sometimes sixty hours a week, to make the productions you enjoy possible.

Of course, I leave you in the hands of our music director, fearless leader, ingenious innovator, inspirational motivator and most of all, my dear friend, Tim Hankewich.I will never again have such an incredible partner. Never again will I expect to see my music director singing from the podium, fixing a martini on stage (and during a piece he should have been conducting) or in drag (yes, its happened).

Thank you for letting me share these seven years with you. They have been the best years of my life.

Adieu,

Robert MasseyCEO

CElEbRATINg THE


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1 - 8 6 6 - A L L I A N T


Imagination finds its outlet in many ways. We look, we listen, we discover new ways to engage

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2014-15 Orchestra Iowa Ad 7.5x10.25.indd 1 9/29/14 12:52 PM


On behalf of the board of Directors, I welcome you to Orchestra Iowas 93rd season. We have much to celebrate as we present a season filled with seventeen symphony, opera, ballet, chamber music and popular productions. Maestro Timothy Hankewich and the talented musicians of Orchestra Iowa will once again raise the bar with phenomenal performances of symphonic masterpieces. Joining the Orchestra will be a roster of world renowned soloists. We will also partner again with ballet Quad Cities, the Cedar Rapids Opera Theatre and Theatre Cedar Rapids to present a rich array of diverse offerings.

This is the Orchestra Iowa you see and hear. Hundreds of talented men and women who bring their craft to the stage to present transformative experiences that enrich our lives. In addition to them, there are hundreds who work behind the sceneseither as part of our administrative staff, our board of directors or our volunteer core.

Theres one other group that deserves my sincere thanksyou! The men and women of the Orchestra can play under Maestro Hankewichs direction all day long, but its not until you play your role that we accomplish our mission. Orchestra Iowa is YOUR orchestra and we are privileged to serve this community through incredible performances, exciting productions and engaging educational programs.

For those of you who are long-time supporters of the Orchestra, thank you for your faithful patronage. For those who are new, welcome. We hope you enjoy your experience and that youll visit us again soon.

Don ThompsonChairman

BOARD OF DIRECTORSORCHESTRA IOWA

ChairDon Thompson

SecretaryPat Hanick

TreasurerDenny Redmond

Its good to be home.

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Dennis McMenimen

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barbara Peterson

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- 10 -OVERTURE MAgAZINE | OCT/NOV 2014

Every performance touches your heart.Research has confirmed a link between listening to music and

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VIOLIN Open, Concertmaster John N. Knapp ChairAnita Tucker, Associate ConcertmasterMadeline Capistran, Assistant Concertmaster Karla galva, Principal Second Violin McConoughey Family ChairMiera Kim, Associate Principal Second Violin Myron and Esther Wilson ChairAlla Cross, Assistant Principal Second Violinbryce ChristensenDiane Dahl-McCoyMichael HallJerry HenrySpencer Howardlinda JudieschJessica ling Samuel RudyPeter Tilly

VIOLAlisa Ponton, Principal Leland and Peggy Smithson ChairAmanda grimm, Associate PrincipalJenwei Yu, Assistant PrincipalSara AboZenaMatt barwegenMichelle bennettMichael KimberRochelle Rawson NaylorAndrew Steffen

CELLOCarey bostian, Principal Christian & Patti Tiemeyer ChairJames Ellis, Associate PrincipalAmy Phelps, Assistant PrincipalWhitney gillerTom Maplesbarbara OwenDiane PlatteAndrew Stern

BASSTimothy Weddle, PrincipalJohn HallClint SevcikJeanette WelchMichael Van Ryn

FLUTEJane Walker, Principal Allen and Kathryn Varney ChairHsing-I HoKimberly Helton

OBOEDavid Hempel, Principal Phyllis Fleming Chairbarbara ReckJillian Camwell

CLARINETChristine bellomy, Principal David and Ann Lawrence ChairEmily beisellisa Wissenberg

BASSOONMatthew Ransom, Principal Jillien Hankewich Chairgreg Morton

HORNCharles Harris, PrincipalPeter Kortenkampbrett HodgeDan MalloyPatricia brown

TRUMPETAndrew Classen, Principal CRST International ChairAren Van Houzen

TROMBONECasey Maday, PrincipalCaleb lambert

BASS TROMBONEWill baker

TUBAblaine Cunningham, Principal

TIMPANIAlan lawrence, Principal

PERCUSSIONTom Mackey, Principal Dr. Douglas and Patricia Sedlacek ChairMichael geary

HARPgretchen brumwell, Principal

PIANOMiko Kominami, Principal


At what age did you start playing the viola?

9 years old

What have been your most influential musical experiences?

There have been so many great experiences but there are two that really stand out. When I was in middle school, my school orchestra director, Deborah bell, brought me to the American Suzuki Institute (ASI) in Stevens Point, WI for a week-long summer music camp. It was there that I first met many students who shared my passion for music and who would become life-long friends and colleagues. It was also at ASI that I met several inspirational viola teachers who would have lasting impacts on my education and career: Roland Vamos, Virginia Schneider and Iowas own William Preucil Sr.

Another huge influence for me was my time spent as a student in Cologne, germany. Just to be immersed in the language and culture of the country from which so much of our western classical music was written was enormously beneficial. In Cologne, I studied viola with Rainer Moog, the former Principal Viola of the berlin Philharmonic and had chamber music coachings with members of the legendary Amadeus Quartet. These great musicians had a marvelous, practical, intelligent yet artistic approach to music-making. The time spent under their tutelage was invaluable. (The german beer was good too!)

If you hadnt become a professional musician, what do you think you would you be doing right now?

I would be Earths ambassador to Vulcan.


principal viola

Your professional background includes years abroad and some time spent in the nations capitol. Would you give us a glimpse of that?

Each of my jobs has been really interesting in different ways. As a member of the Iceland Symphony Orchestra and then of Swedens Malmoe Symphony Orchestra, I had the opportunity to experience the unique cultures of these two countries while making a living playing a new orchestral program each week. In The Presidents Own, it was fascinating to be the proverbial fly on the wall. We musicians were literally watching history being made while playing at such events as the state dinner for Queen Elizabeth II, the opening of the World War II Memorial and the state funerals of Presidents Reagan and Ford. Most recently, it has been very rewarding to be a part of an organization like Orchestra Iowa. Not only have I been able to continue playing the great orchestral and chamber music literature, but it has been possible to explore the rich ballet and opera repertoire as well. I have been really looking forward to this season since we are playing some of the greatest repertoire of these respective genres: the opera Don giovanni and the ballets Romeo and Juliet and Sleeping beauty. As a teacher at the Orchestra Iowa School, I have enjoyed helping young students discover the joy of learning to play an instrument well. Even though most will not go on to a career in music, the striving for excellence can teach them so many useful things: disciplined work habits, problem-solving skills, active listening, teamwork and more. I have truly enjoyed the multiple facets of my work here.

What have been your most memorable experiences with Orchestra Iowa?

The Orchestras return to the Paramount Theater after the restoration was a fantastic experience. Of course, it was exciting to be a part of this milestone in the healing of the community after the 2008 flood. I personally know many of the people who worked so hard to make this happen and it was very emotional and gratifying to see it come together. It was also fabulous that Harry Connick Jr. was the artist for this event. He is the real deal and it was really fun to be a part of that show.

An incident which occurred during a rehearsal for the production of the opera Salome a few years ago remains indelibly imprinted in my memory. In the scene, a

character was supposed to stab himself in the stomach. The singer had a packet filled with fake blood which was taped to his body under his costume. The pouch was perhaps too full or was punctured just right, because the blood projected much farther than anticipated and much of it landed on me, my music and my instrument! Fortunately, the substance used for the fake blood was easy to remove and caused no lasting damage to my instrument. (The same cant be said for the music which is probably still covered with red blotches!) In spite of this, that Salome productions remains one of my all-time favorites in which I have performed here.

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For more than 60 years, the Greater Cedar Rapids Community Foundation has been proud to work with donors from all walks of life offering personalized service, strategic investments and knowledge of community needs and opportunities.

WE ARE PROUD TO HELP YOU MAKE A LASTING DIFFERENCE THROUGH PHILANTHROPY.

319.366.2862 [email protected] www.gcrcf.org

UFG is honored to support Orchestra Iowa and congratulates them on another great season! We believe a strongly established arts and cultural community is an essential part of any great cityand Cedar Rapids is our great city.

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We are grateful to the following donors whose commitment and generosity make the music and the education possible through gifts to the Annual Fund, Orchestra Iowa School and Orchestra Iowa Endowment. We would also like to thank the many donors of less than $150 whose gifts are vital to the Orchestras continued success.

INDIVIDUAL HONOR ROLL

CHAIRMANS CIRCLE$10,000 +Joseph M. Kacena Fund**Patricia McPhersonWilliam & bertha OlinAl* & Sara SorensenDorotha Sundquist

CONDUCTORS CIRCLE$5,000-$9,999Anonymous (1)Carleen M. grandonDavid & Ann lawrence David & Mary Jo RaterDr. Douglas & Patricia Sedlacek leland & Peggy Smithson William* & Julianne ThomasMyron & Esther Wilson

ARTISTS CIRCLE$2,500-$4,999Anonymous (1)bruce & Janis AltorferJohn & Stephanie ballardgreg & Teresa barnettDavid & Kay baslerRad & Joyce Finch Tony & Magda golobicleonard & Marlene HadleyKay HalloranTim & Jill Hankewich Edna Herbst Fund**The Jared & Carol Hills Foundation Peter & Ingrid Kolln Marilyn MagidNeal Marple & Jane RheemDick & Kate Minette Craig & Minny OlsonRichard & Rita OlsonJames & Sara Sauterbill & Teddy Shuttleworth Dr. & Mrs. James J. StickleyRobert & Ann Swaney Peter & Susan Tilly Stephen & Victoria West

OPUS CIRCLE$1,000-$2,499Anonymous (4)Jon & Debbie banckslinda barnesRobert becker & Diane HandlerPeter F. bezanson Fund**John & Mary Ellen bickel Janet D. blackledge

John & Cindy bloomhallDanette R. brooksCam & Kathy CampbellSteve & Suzanne CavesTim & Janice Charles Mary Chesebrobryce & Phyllis CunninghamWilliam Davis & Kathryn FranzenburgWendy & greg Dunn Family Fund**Dr. & Mrs. David C. gehringMay g. gortner Charitable TrustMarc & Cathy gullickson Kevin & Pat HanickDavid & Jackie HarrisEdward J. HartmanDavid & Susan HauptCarl & Jill Henrici Fund**Mr. David Hodgingary HoechVern & Clare Hudek Fund**Phil & Kathy Jasperbradley JohnsonClay & Debbie Jones leRoy & Diane KarrRobert F. & Janis l. Kazimour barbara Knapp & Jim NikrantDennis & Karen Kral Jeffrey & Mary KrivitThomas & Nancy lacknerlouis & Claire lichtJoan lipskyJoanna & Wieslaw MachnowskiRobert Massey & lisa PontonJames McCoy & Diane Dahl-McCoyJo & larry Mcgrath Fund**Nancy McHugh Fund**Dennis & Jean McMenimenPeggy & Jim MeekTim & Kim MichelsRachel & Vincent Mills John Murry & leAnn larsonJeffrey & Kris NielsenSteven P. OppKelly & Joel OttoDr. & Mrs. Peter PardubskyDr. Naser & Cathie PayvandiChuck & Mary Ann PetersDenny & Jan Redmondbernie RehnstromKatharine RiskDan & Marcia RogersJack F. RolandFred & Melissa RoseDr. John & Joyce SchuchmannMargaret & Tom Sears

Dr. Robert SedlacekRoger & Teddi SmithJack & Anne StapletonOather & Mirela TaylorDon & Mary Thompson glenn & Audrey Van RoekelAllen & Kathryn VarneyDennis & luann WangemanKurt & Jennifer WaskowP. brian & Deane WattersCorinne Yaw

MEMBER$300-$999Anonymous (2)Johanna & Terry AbernathyMr. & Mrs. Robert W. AllsopTom & Sarah AndersonJean H. Ashby Fund**Addison & Janet AultThe barnes FamilyCharles & Mary barnesgary & Tracy bartlettJames beranekMr. Steven C. bergAlan & liz bergeronDr. & Mrs. lee birchanskyHarry & Carol blackDel & Delores blockAlan & Terry boydenKaren & John brandt Dr. & Mrs. beamer breilingMichael & Victoria brooksDan bryant & barbara Hames-bryantArnold & libby bucksbaumDavid & Dorea burkamperPamela A. & leon F. burmeisterFrank & Susan CampMr. Thomas CardellaWarren & Joan ChadimaDennis & Ellie ChariparDr. & Mrs. Mohit ChawlaRichard & Jeanne ChelikowskyIvan & Mary bess ChesterPaul & Rosanne CongdonSyndy M. & James F. CongerDavid & Olive CrewRebecca DrydenDr. Steve ElliottJoyce & Mark FlemingDixie l. Frenchbeatrice A. FurnerHarlan & Kay graberRobert & Kelly HaagKathy Hall & Terry Pitts

- 17 -

Ted & Tish Healey Joanne Hendricks & Donald StamyJim & Ann Hoffman John A. Hoffman & laura Ottingbob Holmes & Sharon Carmody-HolmesTony & Suzanne Huebschbarbara J. HughesMs. Joan Detwiler Jehlelynn & Cathy JohnsonPreston & beth JohnsonMrs. Marilynn KellerMary Kemen & brian RandallJames & Connie KennedyWhealen & laura KoontzDaniel & Janet KortenkampKeith & Cheryl KrewerJoan M. lacayoDouglas & Sharon lairdMary larsonDavid & Inez lenschThea leslie bruce & betty lindholmCedric & Marcia lofdahlRonald lowerJamie lundahlMr. Kerry Mannbruce McgrathRonald & lillian McgrawJim & Rose Marie Monagan Robert & Tara MoormanDarrell & Middie MorfFrank & Jill Morrissbarnes & Judy ODonnellDavid & Carolyn OliverClark & Jacquie OsterKen & barb OwenMr. & Mrs. David ParmleyDebora Pesekbarbara & Philip PetersonDebra PiehlDr. Fred & Janet Manatt PilcherJoe & Sherry PughJoe & Martha RasmussenKarl & lois RenterArt & Harriet RinderknechtJohn & Monica RoltgenCarolyn Pigott RosbergMr. & Mrs. gary RozekJohn M. & Wilma Ann Wallin Sagers Fund**Harry J. SammsAaron & Jacalyn SchlenkerJohn C. & Carolyn J. SchmidtJonathan & Jenifer SchmidtFrieda SchmitzHelmut & Mara SchrottJohn & Rebecca SchultzJohn & Arla SenkoPaul R. & Rebecca F. Shawver Fund**Marilyn SippyTom & Amy StanczykAnnemarie Stark & Don bussErich & Sallie Sun StreibSusan & gary StreitTudy StreletzkyW. Richard & Joyce Summerwill

larry & barbara TaylorDan & Carolyn ThiesJanet & Charles ThulinThomas & Karen TjelmelandForrest & Alexandra TomesJoan TuckerDevin & Elise van HolsteijnCalvin & linda Van Niewaalbarbara WeeksJames & Marilyn WeemsMaxine WelchDoug & lori WenzelKate White grahamThomas & Susan WolleElaine YoungKen & beth ZamzowR. Mark & Tracy Zimmerman

SUPPORTING FRIEND$150-$299Anonymous (1)Paul & Elizabeth AbramowitzJim & Ruth AffeldtDr. & Mrs. Roger AllenMarian l barnes, M.D.Sue bealsJohn bentonbarbara A. bloomhallDoug & Michelle brockAlicia brown-Matthesbill & linda bywaterArthur & Miriam CanterRichard M. & Ellen CaplanAnne H. CarterSusan H. CellSteve & Kaye ChristWendy & Curt CoxRebecca CraigMrs. betty DebbanKen & lynn DeKockM.C. DickmeyerJim EichhornJeff & Terri ElginJack & Nancy EvansJoFran & Jim FalconJean W. FerringDean & laura gesme Family Fund*Doris gitzylarry gregoryDonald & Joyce HaugenNorbert & Suzanne HemesathRay & Maree HengDarrell & Joanne Hennesseygingie HunstadMarybeth JaggardDavid JensenCharles & Marcia JepsenDorothy S. JohnsonJames F. Kern Ken KrizanRobert & Margaret KrzywickiDave & Chris KubicekMike langheimMark & Corenne liaboRebecca lindwallMrs. Nancy A. lynch

Pam MahanyTom & Marilyn MarkJohn & Frances MarkhamCarolyn & Norm McElwainTheza l. MillerTom MoranEd & barbara MumfordMark Ogden & Iris Muchmorebetty J. OsincupJerry & Marilyn Owen Ms. Katherine PlanderWilliam & Doris PreucilMelissa lyon RandallMr. bruce & Mrs. Elizabeth RaySol & Suanne RocklinKurt g. Rogahnbarbara RossDr. & Mrs. John W. SackettMary & Franklin ScammanJeffrey J. & Kristin SchaeferRich & Donna ScheerRichard & Jeanne SentmanJ. David & Charlotte SiebertRay & lynda SmithJames & Nancy SpencerRandy & Kris SternerMelvin & Diane SunshineMs. Angeline TaakeMolly & Tim Tewsongreg & lisa ThirnbeckAllan & Mary ThomsShirley ThorntonEvelyn ToftJohn & Alice WassonChuck & Carol WehagePaul & gail WilliamsNorman & Mary Ellen WrightDale E. WulfEkhard & Wendy Ziegler

** Funds of the Greater Cedar Rapids Community Foundation

* Posthumous recognition

Gifts were made to Orchestra Iowas Annual Fund in honor of the following:

MEMORIALSles and blanche lawrenceHerb OsincupFlora Hromatko TaylorWilliam l. ThomasPeggy boyle Whitworth

Gifts were made to the Orchestra Iowa Endowment in memory of:

John N. Knapp

HONORARIAPam Weest-CarrascoJeanie DeWolfMargie FletcherDave JohnsonDr. and Mrs. Robert Swaney


I wISH TO BECOME AN ORCHESTRA IOwA CONTRIBUTOR(Please select your level of Membership)

______________ Chairmans Circle / $10,000 and above

______________ Conductors Circle / $5,000-$9,999

______________ Artists Circle / $2,500-$4,999

______________ Opus Circle / $1,000-$2,499

______________ Member / $300-$999

______________ Supporting Friend / $150-$299

______________ Friend / $75-$149

PAyMENT METHOD________ Check enclosed (made payable to Orchestra Iowa)________ Credit Card

Card # ___________________________Exp. Date ________

Signature __________________________________________

Installment options available. Call 319.366.8206 for more information.

ContaCt InformatIon

_________________________________________________Name

_________________________________________________Address

_________________________________________________City State Zip

_________________________________________________Phone

_________________________________________________Email

Please return your completed form to: Orchestra Iowa Individual Contributions 119 Third Avenue SE Cedar Rapids, IA 52401

"

Individual Contributor Benefits

CHAIRMANS CIRCLE - $10,000 AND ABOvE Aprivatechambermusicensembleperformanceinyour

homeorbusiness Recognitionofsupportononesymphonicorchamber

concertduringtheseason Plusallbelow

CONDUCTORS CIRCLE - $5,000-$9,999 PriorityreservedconcertparkingforOrchestraIowa

symphonicconcertsattheParamount MusicianChairNamingRecognitionforoneseason InvitationtoprivatedinnerwithMaestroHankewichand

guestartists Onecomplimentary2-hourrentaloftheOpusConcert

Cafforyourpersonalorbusinessuse ComplimentarybeveragevouchersforuseintheOpus

ConcertCafatOrchestraIowaconcerts Plusallbelow

ARTISTS CIRCLE - $2,500-$4,999 ReservedConcertparkingforOrchestraIowasymphonic

concertsattheParamount Priority,personalizedandadvancedsubscriptionseating Eightcomplimentarybeveragevouchers(total)forusein

theOpusConcertCafatOrchestraIowaconcerts Plusallbelow

OPUS CIRCLE - $1,000-$2,499 Personalizedandadvancedsubscriptionseating AccesstotheOpusConcertCafduringintermissionat

OrchestraIowaConcertsandselectParamountevents InvitationtotheAnnualPatronsReceptioninMay Fourcomplimentarybeveragevouchersforuseinthe

OpusConcertCafatOrchestraIowaconcerts Plusallbelow

MEMBER - $300-$999 InvitationtoOpenRehearsalswithDonorAppreciation

Receptionsthroughouttheyear AbilitytopurchaseticketstoParamounteventspriorto

thegeneralpublic. Plusallbelow

SUPPORTING FRIEND - $150-$299 RecognitionintheIndividualHonorRollinthenew

OvertureMagazine(ourconcertprogrambook) Plusallbelow

FRIEND - $75-$149 ReceivetheAnnualSeasonBrochure ReceivenoticeofspecialOrchestraIowaeventssuchas

Lunch&Listening

JOURNEYJOIN THE


Monday, March 17, 8:00 p.m. | Paramount Theatre, Cedar Rapids

Donor SPotLIGHtJOHN & MARY EllEN bICKEl

John and Mary Ellen bickel, known as Corky and Med to friends and family, have enjoyed coming to hear the orchestra since the early 1970s. both have a deep appreciation for symphonic music that began in early childhood. John recalls accompanying his parents to Coe College to hear the orchestra perform. both John and Mary Ellen took piano lessons in their early years and gained an appreciation of music from those experiences. little known to each other until later in life, they actually took lessons from the same teacher!

Serving in the past on the Orchestra Iowa board of Directors and currently on the Foundation board, John is passionate in his belief that a professional orchestra is necessary as a benefit for recruitment and retention within our community. He and Mary Ellen encourage friends to experience it first hand and to discover the wonder of a first class orchestra and Maestro.

both of the bickels were thrilled when the Paramount Theatre reopened in 2011. They championed the creation of the Opus Concert Caf and through their encouragement and support, literally opened a door between the Hall of Mirrors and the new Opus venue. This has given thousands of performance goers the added value of relaxing and socializing in the same building where they are experiencing magnificent live performances. He and Mary Ellen feel that it provides a venue for soothing relaxation and reflection and a wonderful way of meeting like-minded friends.

John and Mary Ellen are clear on why they feel strongly about supporting the organization. Orchestra Iowa is a community asset that, if lost, we may not be able to regain. The community would be much poorer as a result.


D E D I C AT E D S E R V I C E S | E X P E D I T E D | M A L O N E | L O G I S T I C S | S P E C I A L I Z E D T R A N S P O R TAT I O N | T E M P E R AT U R E C O N T R O L L E D T E A M S E R V I C E

w w w . c r s t . c o m | 1 - 8 0 0 - 7 3 6 - 2 7 7 8

CEDAR RAPIDS HAS ALWAYS COME FIRST FOR US.Its been 58 years since we began operations as Cedar Rapids Steel Transport.

Thousands of employees and millions of miles later, weve never

lost sight of our home. We know the extraordinary dedication and work ethic

of the people in this community have been the power behind our success.

That success has allowed CRST to support not only a large local workforce

but to invest millions of dollars in this community. We believe

supporting many deserving non-proft organizations helps to make Cedar Rapids

a better place to live ... and keeps CRST a great place to work.

Visit us at www.crst.com.


Arcangelo COREllI

Ern DOHNANYI

Robert SCHUMANN

Sonata in D minor, Op. 5, No. 12 la Folia

Serenade in C major for Violin, Viola and Cello I. Marcia: Allergro II. Romanza: Adagio non troppo III. Scherzo: Vivace IV. Tema con variazioni: Andante con moto V. Rondo: Allegro vivace

Piano Quartet in E flat major, Op. 47 I. Sostenuto assai - Allegro ma non troppo II. Scherzo: Molto vivace III. Andante cantabile IV. Finale: Vivace

intermission

Friday, January 9, 7:30 p.m.Saturday, January 10, 7:30 p.m.Sunday, January 11, 2:30 p.m.

Cedar Rapids Opus Concert CafCedar Rapids Opus Concert CafCoralville Center for the Performing Arts

beth larson, ViolinJenwei Yu, Viola

Carey bostian, CelloMiko Kominami, Piano & Harpsichord


Sonata in D minor, Op. 5, No. 12 La FoliaArcangelo CORELLI, 1653-1713

Born in Fusignano, Italy in 1653, the Italian composer and violinist Arcangelo Corelli studied in Bologna, a distinguished musical center, and by the 1670s had established himself in Rome. Thanks to his musical achievements and growing international reputation, Corelli found no trouble in obtaining the support of a succession of influential patrons. History has remembered him with such titles as Founder of Modern Violin Technique, the Worlds First Great Violinist, and the Father of the Concerto Grosso. Corelli occupied a leading position in the musical life of Rome for some thirty years, performing as a violinist and directing performances often on occasions of great public importance. His style of composition was much imitated and provided a model, both through a wide dissemination of works published in his lifetime and through the performance of these works in Rome. His concerti grossi have often been popular in Western culture. For example, a portion of the Christmas Concerto, op.6 no.8, is in the soundtrack of the film Master and Commander: The Far Side of the World. He is also referred to frequently in the novel Captain Corellis Mandolin. Corelli died a wealthy man on January 19, 1713, in Rome in the 59th year of his life. But long before his death, he had taken a place among the immortal musicians of all time, and he maintains that exalted position today. La Folia was first published in Rome on the first of January, 1700. Duration is about 12 minutes.

The title La folia (or its alternate spelling follia) is, in essence, a progression of chords well-known during the baroque era. More than 150 works by almost as many composers bear the name and are generally sets of variations on the well known and well-used theme. Corellis version of la Folia, written in five movements, came from his Sonata No. 12, Op.5, a set of 12 sonatas published in 1700, and he dedicated Op.5 to the Electress Sophie Charlotte of brandenburg. Op.5 was one of Corellis most popular collections of music, and at least 42 editions of Op.5 were published by 1800 (advances in music publishing during this time period contributed to the widespread popularity and accessibility of Corellis music).

Corelli was a central figure in the evolution of the sonata. Two types of sonatas were popular during the baroque era: church sonatas (sonate da chiesa) and chamber sonatas (sonate da camera). Corellis church sonatas, generally had a four movement structure of slow-fast-slow-fast. The first movement was often a processional, in the French overture style; the second movement was generally fast and imitative, often a fugue; the third movement was in

a lyrical, aria style; and the fourth movement often was a fast, bipartite dance form. Corellis chamber sonatas were usually a collection of binary dances based on French dances with no set number of movements. These two forms of sonatas, church and chamber sonatas, eventually merged before the baroque period ended. During the Classical period, sonata came to mean a multi-movement work for a solo instrument with piano accompaniment, or piano alone.

Serenade in C major for Violin, Viola and CelloErn DOHNANYI, 1877-1960

Ern Dohnnyi was born in Pozsony (now Bratislava) in 1877. During his early years he showed great interest in music, and he later opted for further musical study in Budapest rather than, more conventionally, in Vienna, setting an example that was followed by his younger contemporary Bartk. His acquaintance with musicians like Hans Richter, Johannes Brahms and Joseph Joachim helped him to establish his early musical career as a composer-pianist in several important cities in Europe. He returned to Budapest in 1915, where he taught at the Budapest Music Academy and played a leading part in forming the musical culture of Hungary, although there were difficulties with the regime that replaced the first republican government of the country a few years later. The unsettled political environment in Hungary made Dohnnyi move to Austria in 1944, but rumors continued to haunt him and caused him to halt his performing career several times. He finally settled in the United States in 1949, teaching at Florida State University in Tallahassee, where he was also active in performing and composing until his death in 1960.

Dohnnyis Serenade in C major, Op.10, for string trio, was written in 1902 and published in Vienna two years later. The work opens with a march, dominated at first by the vigorous rhythmic figure with which it opens. It moves on, before long, to a gentler mood, with a suggestion of the Hungarian about it, although Dohnnyi never attempted to draw overt inspiration, as bartk and Kodly did, from the folk-music of Hungary and surrounding regions. The opening motif appears again only briefly in the last five bars. The viola presents the principal theme of the second movement Romanza, over plucked offbeat chords from the other two instruments, and goes on to provide an arpeggiated accompaniment to the more turbulent central section of the movement, before the violin brings back the principal theme once more. In the Scherzo the instruments enter one after the other with the lively chromatic principal theme. The busy activity of the third movement, briefly relaxed in a secondary theme, is followed by a fourth movement consisting of a theme and variations. The violin states the theme, playing on the g string, to be followed by the viola. The violin offers a further, melodic variation,

ProGram notes


and a descending melodic pattern prevails in the following version of the material. Triplet rhythms predominate in a Poco pi animato, and the viola takes up a version of the theme against a tremolo violin accompaniment, mounting in excitement until the tranquillity of the close. The Serenade ends with an energetic Rondo, driven forward by the rapid main theme, which frames contrasting episodes, before elements of earlier movements are recalled in a final coda.

Piano Quartet in E flat major, Op. 47Robert SCHUMANN, 1810-1856

Robert Schumann, widely regarded as one of the greatest composers of the Romantic era, was born in Zwickau, in the Kingdom of Saxony on June 8, 1810. During his early years, Schumann left the study of law, to pursue a career as a virtuoso pianist. Due to a hand injury, Schumann focused his musical energies on composing. Schumanns published compositions were written exclusively for the piano until 1840. In 1840, against the wishes of her father, Schumann married Friedrich Wiecks daughter Clara, following a long and acrimonious legal battle, which found in favor of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which formed a substantial part of her fathers fortune. Schumann suffered from a lifelong mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of exaltation and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to a mental asylum, at his own request, in Endenich near Bonn. Diagnosed with psychotic melancholia, Schumann died two years later in 1856 without having recovered from his mental illness.

1842 is often called Schumanns Year of Chamber Music because, in a stretch of nearly unbroken intensity, he produced three string quartets, a piano trio, the innovative piano quintet and the piano quartet. The Piano Quartet in E-flat-major, Op. 47, was the last of the series, written within a few weeks. given Schumanns affinity for the piano, it is not surprising that the piano quartet and piano quintet remain the most popular his chamber works. Of the two, the quartet, with is smaller ensemble, is naturally more intimate, its character more delicate, and its chamber textures more pure.

The first movement sonata opens with a slow, spacious introduction. Not a mere prelude to the sonata, it reappears to announce the development section and it announces the four-note motive that dominates the movement. The sonata is vivid due to its amazingly simply but effectively contrasting themes. The first is the four-note motive,

stepping down then up. The second is rush up the scale and an arpeggio rushing right back down. Despite their simplicity, each is shaped into pleasing melodic content and woven into a fluid dramatic narrative with crisp and forceful energy.

The Scherzo is perfectly nervous, nimble, and spiced with the urgency of the minor mode. Most scherzi are strongly sectional in their form and are experienced as such. Schumann created his with the same fluid integration that characterizes the whole quartet. Though it even has two trios rather than the usual one, the movement comes off as a nearly seamless continuity of unbroken motion. both trios are laced with elements of the scherzo, which, by virtue of the form, recurs three rather than two times. More like a brief rondo, the entire movement rushes swiftly by, suddenly gone, unexpectedly.

The third movement Adagio checks all the slippery energy of the scherzo and nestles down into a gently flowing song. Here is Schumann the Romantic pouring out a tender duet aria between cello and violin that seems to speak so clearly without using single word. The middle section of this da capo aria takes a strong cue from beethoven by deepening the romantic into the sacred with a spare hymn that hallows with its graceful simplicity. All momentum nearly stops until the spell is broken by the return of cello song, made more poignant by new figurations in the violin and piano, and a new melancholy in the tonality. The movement ends with what is simultaneously a well-matched ethereal coda (recalling the hymn) as well as a prefiguration of the final movements theme.

Schumann ends this delicious quartet a blaze of motion and rich counterpoint. It begins as though it were a regal fugue from a baroque suite but it soon moves into a second theme of swaying classical lyricism. Schumann achieves of fluid blend of textures that is neither strictly polyphonic nor homophonic but the indescribable hybrid that is the sine qua non of the classical masters. As if to complete his organic survey of chamber features, Schumann emphasizes the polyphonic, using the drive and swelling complexity of fugal imitation for an exciting and deeply satisfying close.

Consider one final aspect of Schumanns craftsmanship: the three-note motif of the finale is essentially an abbreviation of the four-note motif of the first movement. This is yet another example of integration, concision and a clever way to give the last movement its distinctive final thrust.


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Dramma giocoso in Two Actslibretto by lorenzo Da Ponte

Music by Wolfgang Amadeus MozartSung in Italian with English Supertitles

First performance was in Prague, 1787.

This production is sponsored by the generosity of City of Cedar Rapids Hotel-Motel Fund; CRST International; Rockwell Collins; Myron & Esther Wilson; United Fire Group; Divine Engineering; Jared & Carol Hill Foundation; with additional support from Orchestra Iowa.

Don giovannileporelloIl CommendatoreDonna AnnaDon OttavioDonna ElviraMasettoZerlina

ConductorStage DirectorStage ManagerSet Designerlighting DesignerProjection DesignerCostume DesignerMakeup/Wig DesignerChoreographerChorusmasterStage PropertiesTechnical DirectorRehearsal Pianist/CoachSupertitles

Christopher burchettlee PoulisRubin CasasDanielle TalamantesJonathan blalockVeronica MitinaSamuel WrightJessica Pray

Daniel KleinknechtWilliam FerraraAmber lewandowskiRob SundermanScott OlingerKristen geislerJanie WestendorfSarah FriedEloy barragangerald KreitzerKathi PudzuvelisJason lesterJohn HollinsTony Nickle

OVERTURE MAGAZINE | DEC 2014

SYNOPSIS by Marian T. AntinSeville, Spain; mid-eighteenth century

ACT I leporello, servant to the nobleman Don giovanni, keeps watch outside the Commendatores home at night. Suddenly, the Commendatores daughter, Donna Anna, rushes out, struggling with the masked giovanni. Her father follows and challenges giovanni to a duel. The Commendatore is killed. giovanni and leporello escape and Anna asks her fianc, Don Ottavio, to avenge her fathers death.

The next day Donna Elvira, a former conquest, confronts Don giovanni about his pursuit and rejection of her which has left her devastated. leporello explains that she is neither the first nor the last to be ensnared by his boss and shows her a catalog detailing his many conquests.

In the town square, peasants celebrate the marriage of Masetto and Zerlina. giovanni flirts with the bride, telling her she is destined for a better life. Elvira shows up and tells Zerlina to flee from the nobleman. She also warns Anna, who is still unaware of the identity of her fathers murderer and has asked giovanni for help in finding the man. giovanni insists that Elvira is mad, and Anna and Ottavio wonder what to believe. As giovanni leaves, Anna suddenly recognizes his voice as that of the murderer. Devastated but determined, she once more asks Ottavio to avenge her fathers death. He wonders how to restore her peace of mind. giovanni, who has invited the entire wedding party to his home, looks forward to an evening of drinking and dancing.

Zerlina, Masetto and their friends are guests of giovanni at his home. Anna, Elvira and Ottavio appear masked and are invited in by leporello. In the ballroom, giovanni dances with Zerlina, then tries to drag her into the adjoining room. When she cries for help, giovanni blames leporello. Anna, Elvira and Ottavio take off their masks and, along with Zerlina and Masetto, accuse giovanni, who is momentarily surprised but manages to slip away.

15 minute intermission

ACT IIHaving exchanged identities with giovanni, leporello takes Elvira on a nighttime walk, leaving his master free to serenade and seduce her maid. When Masetto arrives with a band of peasants to hunt down giovanni, the disguised Don sends them off in various directions, then beats up Masetto. Zerlina finds her bruised fiance and comforts him.

later that night, leporello, still believed by Elvira to be giovanni, is surprised by Anna, Ottavio, Zerlina, and

PRODUCTION STAFFProduction ManagerCurtain TalksAssistant Stage Managers

Assistant Stage DirectorScenic CarpenterSound EngineerProgram NotesTravel & Housing Coordinator

Tony NickleWilliam FerraraMindy Fiala,Hillary Kaefringbrian glickDerek EastonEd Karrgina HausknechtVirginia Michalicek

CHORUS*Denotes Young Artist

gretchen Adams*brian AndersonPatrick Philip becker*John bitsas*bethany brautigam*Aaron brewerZach brown*Jennifer burstainEric CarsonJennifer Daygabriel Digennaro*Rose Diltzbritta FultsDaniel grambow*Michele Horsfall

gyehyun Jung*benjamin laur*Katelyn lee*Stephanie MichalicekRebecca MumawWilliam Ottow*Michelle PriceJoel Rathmann*lora SchmollJusteen SchoenerJulia SimonsChad SonkaRandall WaltonElizabeth Warehamgail Williams

CEDAR RAPIDS OPERA THEATREBOARD OF DIRECTORS AND STAFF

Allison ChristopherEmily ComerHannah gross

McKenna HarrisAnthony Pucci

Joshua SikrisamouthKenyon ThorpeKarina ValverdeHannah Weeks

Kathy Hall, PresidentMichelle Arenson, Vice President

Melissa Summers, Secretarybarbara Robison, Treasurer

Daniel Kleinknecht, Artistic Director and ConductorVirginia Michalicek, Development and Operations Director

Christina Patramanis, Marketing Assistant

Regina baileyJP bickelCyndie birchanskyWilliam CarsonPatrick DeignanVince EllisonCarol HillsMark liabo

DANCERS

lori Rathjebill Stamatslisa TesarMarc WallaceMichael WeaverlingDavid WenzelMyron Wilson


Masetto, who all denounce the supposed Don. Fearing for his life, leporello reveals his true identity before making his escape. Ottavio proclaims that he will take revenge on giovanni and asks the others to look after Anna. Elvira thinks about giovanni, whom she still loves in spite of everything.

In a cemetery, giovanni and leporello meet the statue of the Commendatore, who warns giovanni that by morning he will laugh no longer. giovanni forces the terrified leporello to invite the statue to dinner. The statue accepts.Once again, Ottavio asks Anna to marry him, but she replies that she will not until her fathers death has been avenged.

Elvira arrives at giovannis home. She makes a last desperate attempt to persuade him to change his life, but he laughs at her and mocks her. She rushes out, screaming. There is a knock at the door and the figure of the Commendatore enters, asking Don giovanni to repent. When he boldly refuses, a chorus of demons sings a warning as the earth opens up and swallows him. Elvira, Anna, Ottavio, Zerlina, Masetto and leporello appear, contemplating their futures and the fate of an immoral man.

Don GiovanniPROGRAM NOTES by gina Hausknecht, Coe College

before Don Draper, there was Don giovanni: a heartless womanizer with a long and illustrious literary and musical history, brought most brilliantly to life through Mozarts opera. Don giovanni leaves countless broken-hearted women and furious men in his wake or, to be more precise, he has 2,065 conquests to his name, as his servant leporello explains in Madamina, il catalogo questo. He is undeterred by resistance, reproach or reason, by angry husbands and fathers, even by the specter of one of his victims warning him of the eternal damnation to come. It is the central characters unapologetic libertinism that continues to fascinate, even as it may horrify or repel us just as Donna Annas enraged rejection of Don giovannis advances is matched by Donna Elviras passionate pining for her former lover and the peasant Zerlinas difficulty resisting his wiles.

The legend of Don giovanni, or Don Juan, dates back to a popular early seventeenth-century Spanish play, El Burlador de Seville y Confidado de Piedra (The Trickster of Seville and the Stone guest) by Tirso de Molina, pen name of gabriel Tllez, a Spanish monk. In this comedy set in medieval Seville, a cheerfully compulsive seducer plots to lure several women into bed, drawing everyone around him into various kinds of mischief with the assistance, sometimes grudging, of a servant. Apprehended

by the father of one of his would-be victims, Don Juan kills him. The ghost of the murdered man speaks to Don Juan through the statue on his tombstone, threatening vengeance; Don Juan, undeterred, laughingly invites him to dine with him. In a surprising turn of events, the statue appears at dinner! He then exacts his revenge on a still unrepentant Don Juan.

Versions of the tale proliferated with various elements amplified or discarded in successive adaptations although we recognize in it the central drama offered to us in Don Giovanni by lorenzo da Ponte, Mozarts librettist: Don Juans wolfish pursuit and then abandonment of women of every class and kind, his imperviousness to either their love or anguish, his glee in his unparalleled charms, the murder of the father who rushes to the defense of his daughter, the long-suffering servant, the punishment by the stone guest and Don Juans lack of remorse to the very end.

The story had already been re-worked by several playwrights by the time Molire used it for his 1665 Dom Juan ou le Festin de Pierre (Don Juan or the Feast with the Statue), a play characteristic of Molires comic but pointed examination of the range of human frailities and capacity for deception, including self-deception. Its original production, in which Molire took the role of the servant, now called Sganarelle (familiar from other Molire plays), was censored for its sympathetic treatment of the central character although this was presumably the opposite of Molires intent. Nonetheless, it was Molires version that inspired much of the Don Juan literature that followed, spreading rapidly across the European countries in a variety of forms and genres. Christoph Willibald von glucks innovative ballet Don Juan, which derived from Molires play, was performed in Vienna in 1761. In England, Thomas Shadwell recast the material as a tragedy in his 1676 The Libertine, a leaden version best regarded now for the music composed for it by Henry Purcell. In shifting focus to the figure of the profligate rake (his title is among the first not to refer to a guest or feast of stone), Shadwell participates in his ages perhaps prurient interest in the ruinously dissolute nobility. Perhaps the most well-known English spin-off is lord byrons unfinished satirical epic poem Don Juan which does not follow the contours of the de Molina - Molire tradition but does in some sense create its own by embracing the protagonists liberation from conventional morality. The Don Juan legend in whole or in parts has inspired works by as diverse a group as the elder Alexandre Dumas, Honor de balzac, gustave Flaubert, E.T.A. Hoffman, Alexander Pushkin, Robert browning, Sren Kierkegaard, george bernard Shaw, Richard Strauss, Alfred Camus and Derek Walcott (we do note that women writers dont seem drawn to this character in quite the same way). It has made its way into numerous ballets, operas, songs, poems, novels, plays and films.


The outsize figure of the rampantly successful seducer has become part of our popular culture and, indeed, of our language; while younger folks might refer to a certain type of smoothie as a player, the phrase Don Juan still resonates with their parents to describe a love em and leave em approach to love and romance. What continues to attract us, as artists and audiences? Are we ourselves seduced by Don Juans irrepressible delight in his exploits? Or is the larger-than-life aspect of Don Juan his refusal to submit to the moral framework that binds the rest of us? Don Juan is the sensual version of the more cerebral Faustus, another almost heroically unrepentant figure, fully aware of his wrongs but unwilling or unable to renounce his ambitions and appetites even at the peril of his immortal soul.

Certainly, it was a popular story in Mozarts Vienna. The most immediate source for Mozart and Da Ponte was guiseppe gazzanigas one-act opera, Don Giovanni, o sia Il convitato di pietra (Don giovanni, or The Stone guest) with a libretto by giovanni bertati which debuted in February 1787. The previous year Mozart and Da Ponte had had success with their first collaboration, The Marriage of Figaro, which was greeted with great enthusiasm in Vienna (the encores demanded by the audience doubled the length of the first performance) and then moved on to Prague where it was received even more rapturously. Early in 1787, Mozart and his wife Constanze visited Prague where he conducted a performance of Figaro, gave a pianoforte recital, debuted his Prague Symphony (No. 38 in D), and was generally regarded as a star of the brightest lustre. While there he accepted a commission for a new opera to premiere in Prague in mid-October for the newly married Prince Anton Clemens of Saxony (later Emperor Franz II) and the Archduchess Maria Theresia, niece of Emperor Joseph II.

It was not an easy year for Mozart, however. His father died in May and Mozart himself experienced ill health compounded by the poverty in which he found himself entrenched. back in Vienna he worked on Don Giovanni, engaging Da Ponte to write the libretto; it was to be the second of their three famous collaborations (Cos Fan Tutte was the third). Da Ponte, who boasted about his own amorous exploits, claimed that he chose Don Juan as the subject of the new work. Certainly the material gave Mozart a broad and varied palette to work with. Da Ponte also claimed, in his memoir, that the composer wanted to compose an opera seria (serious opera) but that he convinced Mozart it should be a comedy. Indeed, while it was labeled drama giocoso (jocular drama) in publication, Mozart catalogued it as opera buffa (comic opera). We hear the tension, or the richness, of Mozart working in more than one idiom at once: sparkling comic passages, lively dances, romantic longing, and the chillingly somber treatment of the murder, the vow of revenge, and the final banquet scene.

In early October, Mozart and Constanze returned to Prague with the almost-completed opera but it was not ready for the royal occasion; Figaro was performed instead. There are numerous accounts of Mozarts last-minute completion of the overture the night before the dress rehearsal; according to Constanze, he was up all night with it, finishing just in time for the parts to be copied and delivered to the cast. Da Ponte, for his part, recounts his feverish composition process that year he was working on two other librettos simultaneously, one for Mozarts rival Antonio Salieri - as liberally punctuated with wine and women. both men came through, however: the opera was a hit in Prague (the famous socialite giacomo Casanova, a real-life Don Juan, saw it there) and was soon re-staged in Vienna. Mozart, who composed for his singers, made a series of changes for the Vienna performances, in part working around the strengths and weaknesses of the new cast, additions which are usually included in modern productions. It was not immediately embraced in Vienna. Emperor Joseph IIs reaction was lukewarm; he said, It is not meat for the teeth of my Viennese to which Mozart replied, give them time to chew on it. It has since been consumed with tremendous appetite: Don Giovanni is regarded as one of the great masterpieces of the genre with its beguiling profusion of musical and dramatic elements.

MEET THE PRINCIPAL CAST*denotes Cedar Rapids Opera Theatre debut

Jonathan Blalock (Don Ottavio) *Recent: baker (An American Soldier)Washington National Opera; Tenor Soloist (Mozarts C Minor Mass) St. george Choral Society; Remendado (Carmen) Ft. Worth Opera; Howard boucher (Dead Man Walking) Ft. Worth Opera; Nemorino (LElisir damore) Opera in Williamsburg;

Fenton (Falstaff) Mercury Opera; Tonio (La Fille du Regiment) IVAI in Israel & Montreal; Title Role (Fantastic Mr. Fox) San Antonio Opera. Upcoming: Ramiro (La Cenerentola) Opera Roanoke; Manager/Secretary (Heart of Darkness) Opera Parallele; Pedrillo (Die Entfuhrung aus dem Serail) Des Moines Metro Opera.

Christopher Burchett (Don Giovanni)Previously for Cedar Rapids Opera Theatre: belcore (LElisir damore), Orsen (Too Many Sopranos) Recent: Harlequin (Ariadne auf Naxos) Virginia Opera; Victor/The Producer (Embedded/Buried Alive) Fargo/Moorhead Opera; Father Palmer (Silent Night) Fort Worth Opera; Soldier (Soldier Songs) The Holland

Festival - Netherlands; Ashby (La Fanciulla del West)


Opera Coeur dAlene; Captain Corcoran (HMS Pinafore) Virginia Opera. Upcoming: Title Role (Sweeney Todd) Eugene Opera; Soloist (bachs St. Matthew Passion) bel Canto Chorus - Milwaukee; Antonio (The Tempest) The Shakespeare Concerts - New York.

Rubin Casas (Commendatore) *Recent: bishop Ruiz (Rio de Sangre) Florentine Opera; Raimondo (Lucia di Lammermoor) Opera New Jersey; Il bonzo (Madama Butterfly) Shreveport Opera; Don bartolo (Le Nozze di Figaro) Connecticut grand Opera; leporello (Don Giovanni) Modus Opera New York; Antonio (Mignon)

Opera Orchestra of New York-Carnegie Hall; title role (Don Pasquale) Spokane Opera; Don basilio (Il Barbiere di Siviglia) Virginia Opera; Various Cover Roles (MacBeth, War and Peace, The Gambler, Satyagraha) Metropolitan Opera.

Veronica Mitina (Donna Elvira) *Recent: Tosca (Tosca) Syracuse Opera; Cio Cio San (Madama Butterfly) Nevada Opera; Contessa (Le Nozze di Figaro) Opera North; Mimi (La Boheme) Anchorage Opera and Virginia Opera; Tatiana (Eugene Onegin) Virginia Opera; Nedda (I Pagliacci) Annapolis Opera.

Jessica Pray (Zerlina)Previously for Cedar Rapids Opera Theatre: Pitti Sing (The Mikado); Ensemble and Frasquita - cover (Carmen). Recent for Martha Ellen Tye Opera Theatre/University of Iowa: Adele (Die Fledermaus)l Servilia (La Clemenza di Tito); Phyllis (Iolanthe).

Lee Poulis (Leporello) *Recent: Marcello (La Boheme)Toledo Opera; Zurga (Les Pecheurs de Perles) Fort Worth Opera; Enrico (Lucia di Lammermoor)Dayton Opera, Sarasota Opera and belleayre Festival Opera; Ford (Falstaff) Opera Santa barbara; Principal Roster (Die Fledermaus) lyric Opera of Chicago; Title Role

(Dr. Atomic) Finnish National Opera; Valentin (Faust) lyric Opera baltimore; Heathcliff (Wuthering Heights) Minnesota Opera; Title Role (Don Giovanni) Sarasota Opera. Upcoming: Oppenheimer (Dr. Atomic) Teatro de la Maestranza in Seville, Eugene Onegin (Eugene Onegin) Teatre Principal de Palma.

Danielle Talamantes (Donna Anna) *Recent: Najade (cover) (Ariadne auf Naxos) Metropolitan Opera; Flower Maiden (Parsifal) Metropolitan Opera; Soprano lover (Enchanted Island) Metropolitan Opera; Mimi (La Boheme) Capital City Symphony; Papagena (Die Zauberflote) baltimore Symphony; gretel (Hansel und Gretel)

Opera on the James. Upcoming: Frasquita (Carmen) Metropolitan Opera; Soprano soloist (beethovens 9th Symphony and Mozarts Requiem and Exultate, Jubilate) National Philharmonic; Soprano soloist (Dvoraks Stabat Mater) North Carolina Master Chorale.

Samuel Wright (Masetto) *Recent for Show-Me Opera/University of Missouri: Thorfinn (The Outlaw), John Proctor (The Crucible), guglielmo (Cosi fan tutte). King Melchior (Amahl & the Night Visitors) for Columbia Civic Orchestra.

YOUNG ARTIST CAST MEMBERS

Gretchen Adams (Chorus and Nun - Don Giovanni and Ernesto - Billy Goats Gruff) Mezzo sopranoRecent: Ilonka (Ball at the Savoy) Chicago Folks Operetta; Mercedes (Carmen) American Chamber Opera; Second lady (The Magic Flute) American Chamber Opera; lEnfant (LEnfant et les Sortileges) Chicago College of Performing Arts.

Patrick Philip Becker (Understudy Don Ottavio, Chorus and Military Officer - Don Giovanni) TenorRecent: Christian van Damm (The Red Mill) Victorian lyric Opera; Jack bartlett (The American Maid) Victorian lyric Opera; brioche (The Merry Widow) loudoun lyric Opera; Normanno (Lucia di Lammermoor) Erie Opera Theatre; Dr. blind (Die Fledermaus) Erie Opera Theatre; Pirelli (Sweeney Todd) bach Choir of Pittsburgh.

John Bitsas (Chorus and Reveler - Don Giovanni and Stage Manager/Production Manager - Billy Goats Gruff)baritoneRecent: george Jones (Street Scene) Simpson College; Enoch Snow, Jr. (Carousel) Simpson College; The Abbott (Curlew River) Simpson College; Ensemble (Amahl and the Night Visitors) Des Moines Metro Opera.

Bethany Brautigam (Understudy Donna Elvira, Chorus and Maid Don Giovanni) SopranoRecent: lauretta (Gianni Schicchi) Opera in the Ozarks; Title Role (Suor Angelica) Tuscia Operafestival Viterbo, Italy; Donna Elvira (Don Giovanni) Midwest Institute of Opera; First lady (The Magic Flute) North Park University.

OVERTURE MAgAZINE | DEC 2014 - 30 -

ARTISTIC & PRODUCTION STAFF

Daniel Kleinknecht (Conductor)Dr. Kleinknecht is artistic director, conductor and founder of Cedar Rapids Opera Theatre, an associate professor of music at Mount Mercy University, and Resident Conductor of Orchestra Iowa. He has conducted the Anchorage Opera, Manhattan Chamber Orchestra, long bay Symphony, Evansville Chamber Orchestra, Indianapolis Chamber Orchestra, members of the Indianapolis Symphony Orchestra, Opera Illinois, Concerto Soloists of Philadelphia, The Philadelphia Singers, the Fort Dodge Symphony, the Hunter Symphony, the Hunter College Opera Theater, the Wayzata Symphony Orchestra, the Iowa City Community Orchestra, and several national tours of Menottis Amahl and the Night Visitors. An advocate of new music, Kleinknecht has commissioned and led premieres of works by Michael Daugherty (Flying Saucer), Nicolae bratean (Golem), Edwin Penhorwood (Too Many Sopranos), Theodore gregorui (Violin Concerto), and Robert lindsey-Nassif (FRANKENBOY! a Monsteropera). Dr. Kleinknecht has been a Conducting Fellow at the Aspen Music School and at Quebecs Domaine Forget, and holds music degrees from Oberlin College, Indiana University, and The University of Iowa.

William Ferrara (Stage Director) Mr. Ferrara enjoys an international reputation as a director and acting/directing teacher for opera. In his thirty-year career he has directed more than 150 productions of plays, musicals, and operas at colleges and professional theaters in the U.S., Italy, and South America. Ferrara earned a graduate degree in opera stage direction from Indiana University in 1981. He taught at the University of Northern Iowa beginning in 1984, and joined the faculty at the University of Oklahoma in 1995. He has been a guest director in brazil and next summer, Mr. Ferrara will return to the Opera Viva Summer Institute for Singers in Verona, Italy, where he teaches acting for singers and has designed a new course in opera directing for college teachers. His new textbook, Staging Scenes from the Operas of Mozart: A Guide for Teachers and Singers, is available in print and e-book from Scarecrow Press and Amazon.com. He previously directed Cedar Rapids Opera Theatres productions of Rigoletto and Carmen.

John Hollins (Rehearsal Pianist and Coach)Dr. Hollins is a native of South Carolina and has appeared throughout the U.S. and in the U.K. on concert & opera stages as a conductor, collaborative pianist, organist

Second Spirit (Die Zauberflote) for Opera NUOVA.

Joel Rathmann (Understudy Masetto, Chorus & Military Officer Don Giovanni) baritoneRecent for University of Wisconsin/Madison: Vicar (Albert Herring); ben (The Telephone); Colas (Bastien und Bastienne); Nortario (Gianni Schicchi).

Zack Brown (Understudy Commendatore, Chorus & Military Officer Don Giovanni and Osmin Billy Goats Gruff) baritoneRecent: Pooh bah (The Mikado) Cedar Rapids Opera Theatre; Ensemble and Morales cover (Carmen) Cedar Rapids Opera Theatre; King Melchior--cover (Amahl and the Night Visitors) Des Moines Metro Opera; Mr. Peachum (The Beggars Opera) Simpson College; Frank (Street Scene) Simpson College.

Gabriel DiGennaro (Understudy Leporello, Chorus and Reveler Don Giovanni) baritoneRecent: Dance Master/Mars (Maskarade) Chicago VOX3 Collective; Simone (Gianni Schicchi) Chicago College of Performing Arts; leporello (Don Giovanni) University of Delaware; Title Role (The Mikado) College light Opera Company; Dr. bartolo (Le nozze di Figaro) University of Delaware.

Daniel Grambow (Understudy Don Giovanni, Chorus & Reveler Don Giovanni) baritoneRecent: Jacob (The Ballad of Baby Doe) Music by the lake; Title Role (Don Pasquale) Main Street Opera Outreach; Papageno (Die Zauberflote) Chicago Summer Opera; Schaunard (La Boheme) Kor Productions; Rasmus (Maskarade) Chicago Vox3 Collective; Father (Hansel und Gretel) Main Street Opera; Camarieri (La Cenerentola) Candid Concert Opera; betto (Gianni Schicchi) Main Street Opera.

Benjamin Laur (Chorus and Military Officer Don Giovanni) TenorRecent: Orfeo (LOrfeo) bowling green State University; Ensemble (The Mikado and Carmen) Cedar Rapids Opera Theatre; Ensemble (La Traviata and La Boheme) Toledo Opera; Tenor (Berlin to Broadway with Kurt Weill: A Musical Voyage) Martha Ellen Tye Opera Theatre/University of Iowa

Katelyn Lee (Understudy Zerlina, Chorus and Nun Don Giovanni) SopranoRecent: Mizzi (Ball at the Savoy) Chicago Folks Operetta; Rosina (Barber of Seville) Springfield Regional Opera; Contessa (Le nozze di Figaro) Jacobs School of Music/Indiana University; Madame goldentrill (The Impresario) Jacobs School of Music/Indiana University; Diana (Orpheus in the Underworld) Cincinnati College-Conservatory of Music; Queen of the Night (The Magic Flute) Cincinnati College Conservatory of Music.

William Ottow (Chorus Don Giovanni and Dandini Billy Goats Gruff) TenorRecent: Hilarion (Princess Ida) Madison Savoyards; Odoardo (Ariodante) University of Wisconsin Opera; Captain of the guard (Medea) University of Wisconsin Opera. Upcoming: Title Role (Albert Herring) University of Wisconsin Opera.

Michelle Price (Understudy Donna Anna, Chorus & Maid Don Giovanni) SopranoRecent: Alice Ford (Falstaff) for University of Oklahoma;

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and as a professional baritone chorister. He is Assistant Professor of Choral and Opera Studies at Texas Tech University. Dr. Hollins has a D.M.A in choral conducting, piano performance, and musicology; an M.C.M degree in organ and piano; and an undergraduate degree in piano pedagogy. He has served regularly in the past 15 years as rehearsal pianist for Cedar Rapids Opera Theatre mainstage productions and as Conductor for the companys Young Artist productions at brucemore.

Amber Lewandowski (Stage Manager) Previous stage management credits include work in musicals, deaf theatre and various touring productions, as well as productions with Seattle Repertory Theatre, lexington Childrens Theatre, and Opera New Jersey. Ms. lewandowski completed her MFA at the University of Iowa; this is her second season with Cedar Rapids Opera Theatre.

Rob Sunderman (Set Designer)Mr. Sunderman graduated from the University of Iowa with a bFA, MA and MFA and has designed scenes and exhibited fine art extensively throughout the United States for the past 30 years. He is presently the Resident Scenic Designer, Scenic Artist and Associate Professor of Scenic Design/Technical Theatre at Iowa State University. Previously, he was the Scenic Designer and Technical Director at Iowa Public Television. Accomplishments include receiving four Iowa Film Awards and a National broadcasting Designers Award. He has won the Kennedy Center American College Theatre Festival Meritorious Achievement Awards in Scenic Design in 2001, 2003 and 2007. In 2003 he received a Kennedy Center faculty summer fellowship in Scenic Design and that year was one of 300 artists from the United States to receive a personal invitation and request to design a Christmas tree ornament for the White House. This is Mr. Sundermans 4th season designing sets for Cedar Rapids Opera Theatre.

Scott Olinger (Lighting Designer)Mr. Olinger is chair of the Department of Theatre and Communication Studies at Cornell College. He has designed sets and lighting for Riverside Theatre, Old Creamery Theatre Company, Jim McDonoughs Holiday grande tour, Pennsylvania Center Stage, and Theatre Cedar Rapids. This is his 13th season working with Cedar Rapids Opera Theatre.

Jason Lester (Technical Director)Mr. lester is in his 9th season as Technical Director for the Cedar Rapids Opera Theatre. After receiving a b.A. in Theatre from Central College, he has spent the last decade working professionally in the Eastern Iowa area for regional theatres, Cedar Rapids Opera Theatre, and with the US Cellular Center in Cedar Rapids.

Kristen Geisler (Projection Designer)An MFA candidate at the University of Tennessee, Ms.

geisler has worked in lighting Design the past10 years for a diverse group of organizations including busch gardens, NbC, Kentucky Opera, University of South Florida, Interlochen Center for the Arts, many theater groups, and CNN.

Tony Nickle (Production Manager/Supertitle Master/Chorus Pianist - Don Giovanni; Pianist - Billy Goats Gruff)Mr. Nickle is a piano faculty member at Mount Mercy University, and accompanies a variety of vocal students in the area. Degreed from Cornell College, he is a veteran of 10 years with Cedar Rapids Opera Theatre mainstage and Young Artist productions.

Gerald Kreitzer (Chorusmaster)Dr. Kreitzer is Director of Music Activities at Mount Mercy University in Cedar Rapids. He has a D.M.A. in Choral Conducting from the University of Iowa. He spent 22 years in the Cedar Rapids Community School District, and previously served on the faculties of the University of South Dakota and the University of Northern Iowa. Dr. Kreitzer is a frequent guest conductor, clinician and adjudicator.

Janie Westendorf (Costume Designer)Ms. Westendorf has designed costumes for many Cedar Rapids Opera Theatre productions including La Boheme, The Merry Widow, Tosca, Candide, Madama Butterfly, Elixir of Love, Aida , Carmen and numerous Young Artist productions. Ms. Westendorf also designs for other regional opera and theater companies.

Sarah Fried (Makeup & Wig Designer)This is Ms. Frieds 6th season as Makeup & Wig Designer for Cedar Rapids Opera Theatre. Previously she was with Arizona Opera and has also worked with Pine Mountain Music Festival, bay View Music Festival, American Players Theatre, and the banff Fine Arts Festival.

Kathi Pudzuvelis (Properties Director)Ms. Pudzuvelis recently retired after 37 years as Chair of the Speech and Theatre Department of Mount Mercy University, where she directed and often served as set designer. She has assisted Cedar Rapids Opera Theatre with props for the past 3 seasons.

Meredith Taylor DuBon (Stage Director Billy Goats Gruff)Ms. Dubon has a D.M.A. from Indiana University and has directed several Young Artist school outreach productions for Cedar Rapids Opera Theatre. She is a veteran performer of 8 Cedar Rapids Opera Theatre productions.

Eloy Barragan (Choreographer)Mr. barragan is on the dance faculty at University of Iowa and previously was the choreographer for Cedar Rapids Opera Theatres productions of Carmen and Salome.


SMITH/CRST INTERNATIONAL ENDOWMENT FUND FOR CEDAR RAPIDS OPERA THEATREContributions are welcomed! Please send your check made payable to Greater Cedar Rapids Community Foundation to: Cedar Rapids Opera Theatre, 1120 2nd Avenue S.E., Cedar Rapids, IA 52403, 319-365-7401.

Terry & Johanna AbernathyJean Catey Adams, in memory of Kay Deutscherlinden Aerts, in memory of Kay DeutscherJanice Aiels, in memory of Kay DeutscherTom & Sarah AndersonAnonymousMarian AntinSarah AntinJudy baird, in memory of Kay DeutscherJohn ballardSarah Richardson & David barkerKim & brandon blankenshipMrs. Robert A. boettcher, in memory of bob boettcherguy & Ann boothgeorge & Scott brunscheenDallas & Jackie bryant, in memory of Kay DeutscherArthur & Miriam CanterKevin Carlsonbob & Charlotte ChadimaJames & Carol ChristensenCurtis l. Cox & Wendy Taylor, in memory of John Stuart burnsCRST InternationalCharles EbleMargie FletcherJack & beverly galesles garnerKarla & Dennis goettelCarleen grandonAllan & Sally HarmsDeb Hartung, in memory of Kay Deutscherlouis HarvieuxRobert & Polly HatalaMargaret HauptShan Hernandez, in memory of Myles HernandezJoanne HendricksTim & Katie HillAlice Hoffmeierloren & Carol HortonCharles Jacobygene Ann JohnsonDaniel Kleinknecht, in memory of Myles HernandezAllen Kvidera, DDS, PhDCaroline larson, in memory of Kay DeutscherAnne & Phil lenzenbelle lipskyJames lovegrenJessica McAllisterDavid & Ruth McguireDonald & Nancy MacfarlaneMarilyn & Frank MagidSteven & Virginia MichalicekVirginia Michalicek, in memory of Iris MontemorraVirginia Michalicek, in memory of Yvonne A. greenVincent & Rachel MillsElaine V. & Forrest R. Mykleby

Jean ParryDr. M. Naser & Catherine PayvandiDr. David & Mary Jo RaterW. Christine Rauscher, in memory of Kay DeutscherRonald & Sue Reider, in honor of Marian AntinRonald & Sue Reider, in memory of Kay DeutscherMrs. betty J. RemleySigrid Reynolds, in honor of Karla goettelbyron & Sylvia RileyPeter & Joan RileyAnna & Jim RybickiRoger & bonnie SchmidtDoug & Pat SedlacekRobert & Vickie SedlacekJohn & Dyan SmithMarty & Julianne Smith Charitable Fund of the Chicago Community FoundationSteve burton & Serena StierRay & Ann StonerRobert & Ann SwaneyRobert & Mary Susan TaylorJonathon ThullTerry & Pamela TrimpeHimie VoxmanPaul & gail WilliamsMike & Esther WilsonJohn, beth, Nick & Rachel Zakrasek, in honor of Washington High School Performing ArtsMark Zimmerman Ford

Have you remembered the Cedar Rapids Opera Theatre in your will? Thank you, and drop us a note to let us know!

ELAINE V. MYKLEBY ENDOWMENT FUND FOR THE YOUNG ARTIST PROGRAMContributions are welcomed! Please send your donation with checks made payable to Greater Cedar Rapids Community Foundation to Cedar Rapids Opera Theatre,1120 Second Avenue S.E., Cedar Rapids, IA 52403.

Janice Aiels, in memory of Verlin DeutscherEdwin Andereck, in memory of Jon SpongAnonymous, in honor of Kay DeutscherAnonymous, in memory of Jon SpongMarian AntinSarah AntinDarrell & Carol AxtellJohn ballardMr. & Mrs. Donald bearglorine berry, in memory of Jon SpongJoan l. boewe, in memory of Jon SpongEverett Eugene Cline, in memory of Jon SpongMarlys R. Cook, in memory of Jon SpongJonathan & Judy Cryer, in memory of Jon SpongEvelyn gallagher, in memory of Jon SpongDean & Ann gesme, Sr.Michael gibson, in memory of Jon SpongCarson & betty griffith, in memory of Jon SpongMargaret HauptMargaret Haupt, in memory of Kay DeutscherMargaret Haupt, in memory of Vickie SedlacekMargaret Haupt & Maxine Moore, in memory of Vickie Sedlacek


Marlin & Opal HedbergAlice HoffmeierMarilyn K. beswick Holstloren & Carol Horton, in memory of Jon SpongRoger & Susan Hudson, in memory of Jon Spongglenn & Sally Jablonski, in memory of Jon SpongCatherine Johnson, in memory of Jon SpongJacqueline JohnsonStanley & Arvilla JohnsonAlice Jordan, in memory of Jon SpongDavid & gail Judisch, in memory of Jon SpongMarjorie P. Kampenga, in memory of Jon SpongDaniel KleinknechtCharles Kreeb, in memory of Jon SpongDavid & Jo Ann KreimanAllen Kvidera, DDS, PhDRobert S. lehman, in memory of Jon SpongMark & Susan licherMichael & Janet linton, in memory of Jon SpongRuth lutz, in memory of Jon SpongJoyce Marner, in memory of Jon SpongCharles & linda MarpleDiane Mykleby McDonnellJames & Sharon McKibbinlaura MeadeSteven & Virginia MichalicekAlberto & Deborah Mizrahi, in memory of Jon SpongMorningStar Music Publishers, in memory of Jon SpongRobert & Jean Murraybrian MyklebyDonald & Ann MyklebyForrest Myklebygeoffrey MykelbySandra MyklebyOak Management CorporationO. Russell & Jean OlsonAnthony Palatico, in memory of Jon SpongHarlan & Virginia PearsonCarolyn Peters, in memory of Jon Spongbyron & Sylvia RileyCarmona SauerEugene & Else Schlossberger, in memory of Jon SpongPatrick & Claire Shelby, in memory of Jon SpongKathleen Shimeta, in memory of Jon SpongCharlotte Shnaider & Eric Milnes, in memory of Jon SpongA. Joyce Smith, in memory of Jon SpongDavid M. Smith, D.D.S.Robert M. Speed, in memory of Jon SpongMichael & Catherine Strain, in memory of Jon SpongW.R. Sturtzgerald & Dee SullivanRalph & Winifred Swift, in memory of Jon SpongDavid ThiesMr. & Mrs. Thomas Tooke, in memory of Jon SpongJerry & Kathy Turnerlinda Watkins, in memory of Jon SpongMike & Melinda WeaverlingMr. & Mrs. Andrew Wehde, in memory of Jon SpongDavid & linda WhiteKathleen WilliamsNancy Wombacher, in memory of Jon SpongDorothy Zehr, in memory of Jon Spong

It takes more than music, art, drama, composers, singers, dancers and theatre experts to put on an opera year after year. THANK YOU to these unsung heroes whose help and generosity insure the success of our productions:

Bill & Jeannie Olinger who provide office facilities in their lovely remodeled historic mansion, the A.T. Averill House, at 1120 Second Avenue S.E. in Cedar Rapids.

Robert Chadima and Lijun Chadima who provide storage space in the Cherry building for props and extra space for set storage.

Coe College Music Department, William Carson - Chair for arranging rehearsal space for Don Giovanni and Billy Goats Gruff.

Theatre Cedar Rapids and Derek Easton for building the Don Giovanni set and for use of foggers and projectors.

Dustin Wehrle for providing props assistance; Cady Auction House for providing props; and Joe Wieda, Traer, IA.

Mount Mercy University for use of their keyboard, and Jason Alberty for props.

Cornell College for use of hazers and fogger.

Robert Massey and the Orchestra Iowa staff for providing a venue, box office services, marketing services and the opera orchestra musicians.

Broadcast & Print Media who provide promotional spots both for upcoming performances and throughout the broadcast year:

Community members for providing homestays to the cast of Don Giovanni (not a complete list):

Eastern Iowa companies & individuals who have given of their facilities, products, time and talents to insure the success of our production:

*Iowa Public Radio *KCCK *KXIC *KMRY *Gazette *KZIA *KCRG Channel 9 *The Source *Iowa City Press-Citizen *Corridor Business Journal

*Ron & Caroline Larson *Vincent & Rachel Mills *Margie Fletcher *Marc & Joni Wallace *Curt & Wendy Cox *John & Cheryl Elliott *Kristin Hale *Dennis & Karen Kral *Peter & Joan Riley *Pam Imerman *Nick & Kristie Zuber *Lisa & Steve Loesch *Lisa & Cal Corrin*Jill & Wayne Flory *Mark & Corenne Liabo

IT TAKES A COMMUNITY

*Allegra Print & Imaging *Marian T. Antin *Cedar Rapids Community School District *Cedar Rapids Public Library* Megan Flanagan, Coralville Center for Performing Arts *Gina Hausknecht, Coe College *Ashley Hinson, KCRG* Cottage Grove Place *Diana Nollen, Gazette *Dennis Green, KCCK *Lena Gilbert, Temple Judah *Jacqueline Halbloom, Iowa Public Radio *Greater Cedar Rapids Community Foundation *Methwick Retirement Center *Rotary West *Schulte & Swann-Z109.2 *Jane Schuyler/Destinations Unlimited

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CORPORATE and FOUNDATION DONORS

We thank the following donors for their support! For information on making a donation and corresponding benefits please contact Virginia Michalicek-Director, Development and Operations, Cedar Rapids Opera

Theatre, 1120 2nd Avenue SE, Cedar Rapids, IA 52403; 319-365-7401; www.cr-opera.org.

$15,000 +CRST International

Hall-Perrine FoundationRockwell Collins

$5,000+bankers Trust

City of Cedar Rapids Hotel-Motel Fundgiacoletto Foundation

great America Financial Servicesgreater Cedar Rapids Community Foundation

Organizational Development FundOrchestra IowaTransamerica

United Fire group

$2500 +ACT, Inc.

Alliant Energy FoundationAnderson group at Morgan Stanley

Divine Engineeringgreater Cedar Rapids Community Foundation Program

Fundgriffith, ballard Company

Heuer PublishingIowa Motor Truck Association (in honor of Dyan Smith)

Jared & Carol Hills FoundationMcIntyre Foundation

Wells Fargo

$1000 +Allegra Print & Imaging

Altorfer, Inc.Cedar Rapids Community School District

Dave Wright Subaru-Nissan (in kind)PearsonTarget

US bankWest Music (in kind)

FOUNDERS SOCIETYAs of November 1, 2014

Cedar Rapids Opera Theatre invites financial gifts in any amount to help further its continued participation in the cultural growth of the greater Cedar Rapids area. All gifts, including appreciated stocks and bonds, are deductible for tax purposes. The Founders Society recognizes individual donors who contribute an annual gift of $500 or more to Cedar Rapids Opera Theatre operations. Founders Society benefits include complimentary tickets to some events and exclusive invitations to cast parties and events with CR Opera artists. Please send your contribution to: Cedar Rapids Opera Theatre, 1120 2nd Avenue SE, Cedar Rapids, IA 52403. *= Employer matched gift

Diamond Circle ($20,000+)John & Dyan SmithMyron & Esther Wilson

Platinum Circle (10,000+)Anonymous

Gold Circle ($500+)Anonymous Martin & leesa AndreasSarah AntinRegenia bailey, bailey leadership InitiativeJohn & Stephanie ballardguy & Ann boothWendy Taylor & Curtis Coxbetty Debban, in honor of Young Artist ProgramNile & lois DusdiekerMargie FletcherKarla & Dennis goettelCarleen grandonMargaret HauptJared & Carol Hillsloren HortonTim & Renee Isenberg*Robert & Janis KazimourDaniel KleinknechtJohn & Charlotte KochPeter & Ingrid KollnWhealen & laura KoontzMark & Corenne liaboRebecca & Clayton lindwall*Ann lipskylawrence McgrathDee Ann McIntyreMarilyn MagidJames & Peggy MeekVirginia MichalicekE. Maxine Moorebarnes & Judy ODonnellDavid McCartney & James PetersenKathy Hall & Terry PittsJames & Rita Pray

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laird & Patricia AddisJan AielsRoger & Dixie AllenAnonymousMichelle Arenson*Jon & Debbie bancksMinor & Suzanne barnesJimmy bassettJames beranekNeil & Renate bernsteinTom & Deanna berthelJohn Paul & Phyllis besongJP & larisa bickelRuth bickellee & Cyndie birchanskyMoira blakebarbara bloomhallJohn Dowdall & Jan bolandlynda bordwellRandy & Nadine borngraeberDon linder & Neil boudreauxPeter brokawDallas & Jacqueline bryantDonald bussArthur & Miriam CanterThomas & Patrice Carrollbill & laura Carsonlijun & David ChadimaTim & Janice CharlesCarolyn ClevelandJosephine CookKathryn CoulterJim & Debbie Craiglibby Slappey & Charles CrawleyDavid & Olive Crew bonnie Holst Cummingslois Strother DavisPat & Carol Deignan

OTHER CONTRIBUTORS (up to $500)

Judith Doorenboslois DonovanMike & Karen Dulaneygreg & Wendy DunnJim EichhornJean FerringKitty Eberle FinkDoris gitzyJohn & Kathleen gassNelson & Margaret gurllScott Murphy & Jacqueline HalbloomJohn & Margaret HallEd HartmanPolly & bob HatalaKate HawkinsTed & Tish HealeySally HedgesCharlie & Kissy HeinsEric & Julie HenderJoanne Hendricksbob & Sharon HolmesJanice HorakKathy HoranMarlene HortonTony & Suzanne HuebschJule Ohrt & Charles Jacobygene Ann JohnsonMichael Hovland & Nancy JonesDavid & gail Judischlou KaroulesRobert & Janis KazimourJeanette KellermanMary KelleyJim Nikrant & barbara KnappTom & Nancy lacknerAlan langePhil & Anne lenzenThea lesliebelle lipskyJoan lipskyDonald & Carol loeschCedric & Marcia lofdahlDavid & Ruth McguireDennis & Jean McMenimenMichael & Joanne MargolinJohn & Frances MarkhamRobert & Margie MarrsEdith MerleSteve & Heather MescherTheza MillerVincent & Rachel MillsJohn Moesbarbara MurphyForrest MyklebyTony NickleDaniel & Cathy Nosbish

Sally NovetzkeIris Muchmore & Mark OgdenClark & Jacquie OsterPaul & Jane PateFred & Janet Manatt PilcherWayne & Inara PowersEliot & barbara ProtschRichard QuetschDavid & Mary Jo RaterDean & lori RathjeKarl & lois RenterRaymond & Pat RiezmanDanielle & Randy Ringsbarbara RobisonHenry & Ann Royergary & Cathy RozekSusan RunkleMartha SannerJohn & Carolyn Schmidtlora SchmollE. Wayne & Ann ScottScot & Joyce SedlacekWilma ShadleValerie & Steve ShanleyCharles SheehyWilliam & Winifred ShuttleworthTom & Claire SlatteryAlice T. SmithMarty & Julianne SmithHope Solomonsbill & Anne StamatsDon StamyThomas & Amy StanczykEleanor Streletzkygretchen StuhrDee & gerald SullivanMelissa SummersMelvin & Diane SunshineStephen & Marilyn Swansongreg & Paige SwartzendruberShirley ThorntonJanet Thulinbarbara WeeksJim & Marilyn WeemsDavid & Michelle WenzelNorma Wenzelbrian WestphalenElaine C. YoungMillie YoungquistEkhard & Wendy ZieglerMark & Maureen ZittergruenNick & Kristie Zuber

Ronald & Sue Reiderbyron & Sylvia RileyPeter & Joan Rileybonnie & Roger SchmidtKonrad SchulzeAnn & R

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