20122013SEASON

DOUBTD BTTTTWORLD PREMIERE

A NEW WORKS INITIATIVE PRODUCTION

LIBRETTO BY

JOHN PATRICK SHANLEY

MUSIC BY

DOUGLAS J. CUOMO

Based on his play ©2005 and film ©2008

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contents

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

6 Synopsis 7 Doubt

8 Background Notes 10 Opera Film Festival 11 John Patrick Shanley and

Douglas J. Cuomo 12 The Artists 15 The Minnesota Opera

New Works Initiative

16 Minnesota Opera at 50: The Third Decade 18 Up Next: Hamlet and Turandot 20 Tempo 22 Education at Minnesota Opera 25 Minnesota Opera Board of

Directors, Staff and Volunteers 26 Minnesota Opera Annual Fund

Welcome to the world premiere of Doubt, the fi ft h production and second world premiere of Minnesota Opera’s New Works Initiative. Based on the Pulitzer

Prize-winning play and award-winning movie, Doubt is a brand new opera with music by acclaimed composer Douglas J. Cuomo and words by the original playwright John Patrick Shanley. Th is is the fi rst time they have collaborated on a work, and the fi rst opera libretto by Mr. Shanley.

Doubt takes place at a Catholic school in the Bronx shortly aft er the assassination of President John F. Kennedy. Th e fascinating plot features an explosive confrontation of the wills of two very powerful people: Father Flynn, who supports Vatican ii and the opening up of the Catholic Church to more modern infl uences; and Sister Aloysius, the head of the school and a very conservative nun, who is resistant to change. Sister James, a young and idealistic teacher in the school, reports suspicious activities between Father Flynn and Donald Miller, the school’s fi rst African American student. Sister Aloysius immediately suspects the Father of taking advantage of this young impressionable boy. Sister James becomes a pawn in the epic battle of wills between Flynn and Aloysius.

When I was fi rst approached by Douglas with the idea of turning Doubt into an opera, I was immediately thrilled. Having seen the play as well as the movie, I felt that the construction of the play would lend itself beautifully to operatic treatment, for there were arias and duets as well as trios. Th e language of the play was lyric and always surprising. For the opera, John added adult and children’s choruses to open up the action. Th e story itself is certainly appealing to today’s audience, not only for Douglas’ beautiful, eclectic style and orchestration, but also for the issues that it brings up. Th ough the title of the opera is “doubt,” Sister Aloysius does not suff er from it. She is completely certain that Father Flynn is guilty. Th is certainty also refl ects the times in which we live: the certainty that Iraq possessed weapons of mass destruction at the time of the original play’s creation; the complete breakdown of civil discourse in our government because each party is certain the other party is completely wrong; and the reverence for the “good old days” and fear of change. All these themes surround us as we try to move forward in this uncertain world.

New opera is a fundamental part of Minnesota Opera’s mission. We believe that the operatic art form is not a museum piece. It is constantly changing, evolving and oft en refl ects the political and social trends of the time in which it is written. I am personally inspired by such composers as Verdi and Mozart, and the way they used opera to put ideas in front of their audiences that would inspire, provoke and stimulate discussion. I believe this, whether written in the 18th century or the 21st, is the real power of opera. Minnesota Opera is at the forefront of the creation of new opera and will be so for many years to come.

I hope you enjoy this new opera. I look forward to seeing you at the remainder of the season with new productions of Hamlet and Turandot.

Dale JohnsonArtistic Director

welcome

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synopsis

Act IScene one – St. Nicholas Church Father Flynn preaches a sermon on the subject of doubt and its relationship to a crisis of faith in the wake of recent cataclysmic world events.

Scene two – a classroom in the St. Nicholas School Sister James, a young nun, teaches history to her class. Sister Aloysius, the school principal, observes with scrutiny. She confi scates a barrette from one student and a transistor radio from another.

Scene three – the convent dining room As the nuns eat a modest dinner, Sister Aloysius reviews the Sunday sermon. She advises all the sisters to be on alert for a potential problem.

Scene four – the garden Th e aged Monsignor Benedict and Father Flynn walk outside, discussing their dinner the night before. Th e monsignor expresses his confi dence in the younger priest.

Scene fi ve – the classroom Sister Aloysius encounters Sister James in her empty classroom. Th e teacher inquires aft er a student, William London, who was sent home. It is revealed that his nosebleed was probably self-induced, and Sister Aloysius chides Sister James for being too naïve. Th e younger nun prefers to handle problems herself, but Sister Aloysius outlines the chain of discipline, and stresses that she should use it.

Looking out the window, Sister Aloysius sees Father Flynn with Donald Miller, the school’s fi rst African American student. She reacts uneasily.

Scene six – the school basement Father Flynn coaches a game of basketball with the students.

Scene seven – montage Priests eating and laughing; nuns eating quietly; Mr. McGuinn, the groundskeeper, suspects Donald of drinking the altar wine.

Scene eight – the school gym As Sister James observes a dance class, she sees Father Flynn put something in a locker. Investigating further, she fi nds a white tee shirt. Donald then enters the gym, looking troubled.

Scene nine – the garden Sister James encounters Sister Aloysius, who asks for an update. Th e girls of her class are studying music, while the boys are in the rectory

getting a talk from Father Flynn. Th ey discuss Donald. Sister Aloysius fears he may be a target of bullying, but Sister James reassures her that he has a protector in Father Flynn. Th e older nun becomes tense. Sister James confesses her uneasiness since their last conversation, but Sister Aloysius reassures her that righting a wrong is God’s work.

Sister James begrudgingly reveals her suspicions, recalling the incident during the dance class. Donald seemed somewhat unsettled aft er being called to the rectory for a private talk with Father Flynn, and she detected liquor on his breath. Sister Aloysius suspects an abusive situation, but her hands are tied by the Church. Her only recourse is to report the allegations to the monsignor, who would likely suppress the matter aft er hearing Father Flynn’s denial. She plans to confront the priest directly, and protocol demands someone else to be present in the room, namely Sister James. Th e young nun is clearly uncomfortable at this prospect.

Scene ten – the conference room Father Flynn arrives at the conference room as appointed. Th e meeting is being held under the guise of planning the Christmas pageant. Th e concern of Donald Miller’s role comes up and any special attention in the drama due to his race. Sister Aloysius segues the conversation to the subject of his visit to the rectory, and Father Flynn realizes something is afoot. He is indignant over her tone and refuses to discuss the matter further.

He is about to leave the room when Sister Aloysious reveals that Donald had smelled of alcohol. Th e priest explains – Donald was caught drinking the altar wine in the sacristy. Flynn took pity on him, promising to keep the incident a secret so he wouldn’t be removed from the altar boys. Father Flynn leaves, disturbed by the meeting. Sister James is reassured, but Sister Aloysius is convinced he is lying and is determined to bring him down.

• intermission •

Act IIScene one – the church From the pulpit, Father Flynn relays a parable about idle gossip and the harmful consequences of bearing false witness against one’s neighbor.

Scene two – the garden Father Flynn encounters Sister James outside. Th ey discuss his sermon and the unspoken accusations against him. Th e young nun has only been following the directions of her superior, but asks him directly if the assertions are true. Flynn continues to deny everything. He claims he was only reaching out to the boy, showing him the compassion the cold-hearted nun refuses to give to others. He encourages Sister James not to lose her humanity.

Scene three – the principal’s offi ce Sister Aloysius has called Donald’s mother to her offi ce. Mrs. Miller reports that her son is upset over being removed from the altar boys, but admitted to drinking the wine. She hopes this incident won’t ruin his future at the school, for he only needs to make it until June, aft er which he will be off to high school, and hopefully, college. Sister Aloysius bluntly declares her suspicions about Father Flynn, and believes he gave Donald the wine. Mrs. Miller comes to realize she is willing to allow the potentially improper relationship continue rather than cause more trouble for her sensitive son, who is hated and abused by his father – it will only be for a few more months.

Scene four – the principal’s offi ce Aft er Mrs. Miller leaves, Father Flynn storms into the room, having spotted her. He confronts Sister Aloysius over the nature of the meeting. Th ey have a spirited argument over her claims, and Flynn threatens to have her dismissed. Sister Aloysius then reveals that she has spoken to one of the nuns at his former parish. Exasperated, Flynn reminds her that she has gone beyond Church procedures, but Sister Aloysius is determined to get the truth about his past. He pleads with her to no avail – he must leave St. Nicholas.

Scene fi ve – the church Father Flynn celebrates a fi nal Christmas mass with his congregants.

Scene six – the garden Sister James has returned aft er a short absence while visiting a sick relative. She has learned of Father Flynn’s departure, and Sister Aloysius reports that he has been promoted to become the pastor of the St. Jerome Church and School. She admits her ruse – there was no phone call to the other nun – and her doubts and fears over her determined actions. �

synopsis

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Setting: St. Nicholas, a Catholic church and school in the Bronx, New York, 1964

Working Man, Richard Ollarsaba • Noreen Horan, Christian Bardin • James “Jimmy” Kelly, Patrick TerryTommy Conroy, James Wiersum • Sister Veronica/Mrs. Shields, Kathleen Humphrey • Sister Raymond, Patricia Kent

Monsignor Benedict, Ben Crickenberger • William London, Sterling Lind • Ralph, Jack Romans • Malloy, Landon McDermott Mr. McGuinn, Matthew Opitz • Mrs. Deakins, Victoria Vargas • Tori Adams • Maggie Burr • Isabella Dawis • Tracey Engleman

Peter Frenz • Christie Hageman • Ben Johnson • John Robert Lindsey • Nicole Moran • Allison Schardin • Julia Wiersum

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This production of Doubt is made possible, in part, by the generosity of Elizabeth Redleaf.

The Minnesota Opera season is sponsored by

Music by Douglas J. CuomoLibretto by John Patrick Shanley

based on his play ©2005 and fi lm ©2008commissioned by Minnesota Opera

a Minnesota Opera New Works Initiative ProductionWorld premiere

January 26, 29, 31, February 2 and 3, 2013, Ordway, Saint PaulSung in English with English captions

cast(in order of vocal appearance)

Father Brendan Flynn, parish priest Matthew Worth Sister Aloysius Beauvier, school principal Christine Brewer Sister James, a teacher and a nun Adriana Zabala Donald Miller, a student Julius Andrews Mrs. Miller, Donald’s mother Denyce Graves

creative team

ensemble

Conductor Christopher Franklin Stage Director Kevin Newbury Set Designer Robert Brill Costume Designer Paul Carey Lighting Designer Japhy Weideman Wig and Makeup Designer Jason Allen

Assistant Director Daniel Ellis Assistant Conductor Aaron Breid Children’s Chorusmaster Dale Kruse Répétiteurs Eric McEnaney, Sheldon Miller Stage Manager Alexander Farino

Doubt is supported in part by

The Aaron Copland Fund for Music, Inc.

Experiencing John Patrick Shanley’s play, fi lm or opera

for the fi rst time, the unwary spectator might be initially convinced of Father Flynn’s

culpability for committing unspeakable crimes. In the wake

of the scandal that has rocked the Catholic Church over the past

two decades, the accused priest is generally considered guilty

unless proven otherwise. But the main purpose of the narrative is

not to investigate any failings of the 2,000-year-old institution, but use

it as a backdrop to explore a more fundamental notion – that

of certainty.

Th e work is outlined by a pointed dichotomy. Flynn is presented as a Vatican ii-

style priest, progressive, self-indulgent, at times imperious, yet vaguely eff eminate, sporting uncommonly long fi ngernails. He is popular with his parishioners, coaches basketball, enjoys secular

songs and the sound of his own

voice. Juxtaposed in direct opposition is Sister Aloysius, a stern, terse widow, a woman knowledgeable in the ways of the world, a nun feared by all (though

likeable and humorous at rare moments), who personifi es all

clichéd impressions of a fi erce ruler-wielding schoolmistress. Her no-nonsense approach dismisses all types of pleasure and convenience, from Christmas

tunes and ballpoint pens to sugar and costume jewelry. She is not above lying to achieve her purposes, and she is not without her fl aws, as we discover by the end of the drama.

A closer examination of the text reveals how these two polar opposites explore the parameters of “doubt.” Set in a crumbling rough-and-tumble Bronx neighborhood in 1964, the story is framed by the turmoil of the Civil Rights Movement, Church reform and the threat of global confl ict. Th e quiet protagonist, Donald Miller, is St. Nicholas School’s fi rst African American student, a gesture refl ecting an early attempt at the desegregation of public and private educational institutions. Th e First Vatican Council, a consolidation and affi rmation of the pope’s power in response to Rome’s occupation by Italian Risorgimento revolutionaries in 1870, was overturned by the Second Council, opening up the Church to lay people. One no longer had to merely “pay, pray and obey” – it was the end of ecclesiastical apartness, the clergy now being close family friends and members of the community, delivering mass in English to the occasional accompaniment of a guitar. Meanwhile, military confl ict loomed in the wake of the Cuban Missile Crisis and developments in Southeast Asia.

In the light of these momentous events, the opera opens with a sermon on the theme of hopelessness, using as a preamble to a parable the recent murder of President John F. Kennedy, an event that shocked and deeply moved the entire nation. Flynn sees doubt as a unifying, communal emotion, whereas outside the scope of the drama (subtitled “A Parable”), it becomes destructive and contentious as Flynn’s reputation is itself assassinated. During this scene, the priest privately reveals he has indeed done something wrong, although we never truly learn what that is. In an opening soliloquy, Sister Aloysius discloses

her own reservations about her suspicions, echoed again in the opera’s fi nal lines.

Th e two scenes that follow establish Sister Aloysius as a fi erce disciplinarian, both to her students and her fellow sisters. She plants mistrust into the thoughts of the nuns in her charge, particularly those of Sister James, whose innocence will ultimately be obliterated. James’ naïveté is tested as Sister Aloysius berates her for a lack of classroom discipline, and reminds her of the male-dominated Church in which the two nuns are ultimately powerless. It is also the fi rst time both sisters see Father Flynn with his arm around Donald Miller through a window (the opening and shutting of windows being a common theme). From past experience, Aloysius begins to suspect the worst.

Physicality is another of Father Flynn’s traits; thus he may be perceived as unusually familiar with the male students. Th e recoil of one, William London, becomes the primary (and rather thin) evidence against the priest (by way of disgust and “knowing looks,” the fi lm suggests the theory that London might have also received unwanted attention). Flynn is shown at ease with the boys he coaches, at once their friend and confi dant, further accented by his later “bull session” over cookies and milk. Th ere is some irony in his dating advice, given that he has probably been cloistered in the seminary since his teen years, with no authentic life lessons upon which to draw (the very thought ridiculed by Sister Aloysius who, as a once-courted married woman, has lived on the outside).

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Background Notes by David Sander

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Costume sketches by Paul CareySister Aloysius

Father Flynn

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Greater complexities develop in the following sequence of events. During a dreamy montage, a jocular dinner for the priests is contrasted with the austerity of the same for the sisters, while an intoxicated Donald is caught by Mr. McGuinn (who never actually sees him drinking the altar wine). Next, Flynn stealthily stows a t-shirt in a locker, a peculiar action quietly observed by Sister James. Clearly she has concerns of her own, which she confi des in the elder sister as she has been instructed to do. Refusing to follow Church procedures and cross the garden (the gulf that separates the priests from the nuns) to report to the monsignor, Aloysius takes matters into her own hands. Using Sister James as her pawn, she rather deviously strategizes to trick Flynn into revealing his secrets.

To her good fortune, the Church requires the presence of a third party when meetings between mixed genders take place. In the pivotal scene that closes Act i, Sister Aloysius shows her capacity to tell a lie (albeit a white one) when she explains Sister Veronica’s fall aft er an especially portent storm. Aloysius blames the accident on the habit’s visual limitations when she knows that the old nun’s eyesight is failing, an act of kindness out of sync with her icy demeanor. Once Sister James is in place, the tension mounts. Flynn occupies himself in the principal’s seat,

again emphasizing the hierarchy of the Church, to Aloysius’ disdain. She is clearly frustrated to be

caught in a man’s world, which may fuel her campaign against

the priest (signifi cantly, she later manages to reclaim her chair in the fi lm and

play). While discussing the upcoming Christmas pageant, it becomes clear how their

philosophies diverge, from the inclusion of secular songs to the fl avoring and frequency of drinking tea. Flynn is of the new order, viewing the role of priest as a parishioner’s friend, suggesting ice cream

crow (never a harbinger of anything pleasant) is signifi cant if slightly ambiguous. Is it symbolic of the black-attired and grim Sister Aloysius making false accusations or of a dark, guilty conscience? Th e ever-physical Flynn goes as far as to put his arm around Sister James in a sympathetic gesture, another violation of Church decorum. With his speech about love, compassion and humanity, is he actually fi nding a kindred spirit in the young nun, also a pure soul trying to do good works? Or is he manipulating her gentle nature to rationalize his own abhorrent behavior? It is an additional question mark giving us pause.

Th e meeting with Donald’s mother is a decisive moment in the drama. Unlike the other principal players, Mrs. Miller lives in the real world, where she has to be coolly pragmatic. During her conversation

with Sister Aloysius, she emphasizes the lack of any real evidence the nun has to support

her claim. Rather than being horrifi ed by the

possibility that her son is being mistreated, she soberly deals

with issues before her. Donald must remain at St. Nicholas School, as he was beaten at public school for being

“diff erent.” (For a 1960s-era individual, Mrs. Miller is surprisingly supportive of her son’s homosexual tendencies). His father hates him for the same reason, so Flynn maintains a

surrogate role, and

and camping trips (stereotypical tactics of a predator) as appropriate outings for priests and younger people. Aloysius cleverly tries to steer the conversation toward Donald Miller. Again using window imagery, she opens the shade, causing an inquisitional blaze of sunlight to blind the priest. Her ruse fails, as the proposed tryouts for “Frosty the Snowman” do not divulge any particular preference for the boy, but while inquiring how Donald would be used in the show, she neatly segues into Flynn’s private meeting with him.

Of course Flynn is piqued by the insinuations and prepares to leave, but when the use of alcohol is mentioned (historically, a common enticement in cases of minor assault), he turns to minimize the situation. He has a ready answer (premeditation also plays a part) blaming the incident on Donald and his own actions as a cover-up of the off ense. From the moment he takes Aloysius’ seat of power, the priest reveals a certain degree of conceit, a sense of being beyond the law with a quick-and-ready answer for every question (a further symptom of an abuser). Or is he just accurately reporting what happened?

At the top of Act ii, Father Flynn gets his revenge, arrogantly preaching on the consequences of gossip by way of another parable. Confi dent he has the situation well under control, he openly mocks the nun. Th e scene that follows is an even wilier moment as Flynn skillfully “seduces” Sister James over to his side in the garden, a place where priests and nuns are not to be discovered in pairs. With his usual smooth patter, eff ortlessly spoken both at the altar and in daily life, Flynn adroitly explains away the t-shirt (though why Donald would be embarrassed by its personal return is a little unclear). Th e presence of a cawing

“The truth is rarely simple.”Donald Miller and Monsignor Benedict

Sister James

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she is grateful for that attention.

She fears her son may be ostracized if any rumors were

made public, race being a very real factor in her mostly Caucasian external world. Where Sister Aloysius’ black and white microcosm sees things in either light or darkness, Mrs. Miller (clearly the most insightful of the four leading characters) sees the world in tones of gray.

Th e original drama’s penultimate scene is the fi nal showdown between priest and nun. Flynn’s transformation from self-assured and vindictive to a destroyed man couldbe a telling sign pointing to his guilt and is presented in stages. First he proclaims that Sister James believes him. Next he discloses the fact that Donald’s father beats his son. None of this working, he threatens

background notescontinued

to have Aloysius removed from her position. Unnerved by the revelation that St. Nicholas is the priest’s third parish in fi ve years and that Aloysius has been digging into his past, by calling his previous appointment, Flynn is thunderstruck by what is happening to him. He desperately appeals to the nun’s compassion (where he will fi nd none). It is clear he has done something wrong (having once admitted it to his confessor), and Sister Aloysius tries her very best to beat an admission out of him in an entire reversal of power. Yet, she never succeeds, implying a certain innocence of those specifi c allegations.

“His resignation was his confession,” so Sister Aloysius reasons in the

fi nal scene, even though in telling a falsehood (the call to Flynn’s previous parish never took place) she has committed a mortal sin. Now that she has achieved her goal – Flynn’s removal – and has had some time for refl ection, the sister’s moral fortitude

crumbles in an emotional cascade of doubts. With the caw of the crow, her tragic fl aw, that righteous, iron-clad

conviction has fl own away, dissipating in a fl ood of uncontrolled uncertainty. With regard to faith, “doubt” may be an evil but is far from being a weakness – it can reveal the consequences of narrow thinking and a greater understanding of the human experience. Th e truth is rarely simple.

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Opera, like musicals, has intrigued the

greatest directors since the dawn

of cinema.From the French New New Wave and Gilbert & Sullivan to Ingmar Bergman and Baz Luhrmann, this opera series has something for everyone. Mondays and Tuesday in February at The Trylon. http://www.take-up.org/series/77/

In celebration of Minnesota Opera’s 50th anniversary season, the company joins The Trylon in presenting four of the greatest opera movies ever made.

Mrs. Miller

“Mrs. Miller ... sees the world in tones of gray.”

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John Patrick Shanley is from Th e Bronx, New York. His plays include Danny

and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone,Cellini, Dirty Story, Defi ance, Pirate and Storefr ont Church. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has nine fi lms to his credit, most recently Doubt, with Meryl Streep, Philip Seymour Hoff man and

Amy Adams, which was nominated for fi ve Academy Awards, including Best Adapted Screenplay. Th e fi lm of Doubt was also directed by Mr. Shanley. Other fi lms include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano, which he also directed, and Live From Baghdad for hbo (Emmy nomination). For his script of Moonstruckhe received both the Writers Guild of America Award and an Academy Award for Best Original Screenplay. Th e Writers Guild of America awarded Mr. Shanley the 2009 Lifetime Achievement In Writing.

John Patrick Shanley, librettist

b October 3, 1950

Douglas J. Cuomo, composer

b February 13, 1958

Critics have described the music of Douglas J. Cuomo as “eighteen

minutes of velocity and ecstasy … mesmerizing … fi ercely American in the sense of Whitman, Hart, Crane and Ives,” “… hugely eff ective musically, as well as awe-inspiring,” “irresistible” and “awesome.”

Cuomo has composed for concert and theatrical stages, television and fi lm. His expressive musical language, with its arresting juxtapositions of sound and style, is a natural outgrowth of his eclectic background and training. He became a professional guitarist while still in his teens, alternating years of college – studying jazz, world music and ethnomusicology at Wesleyan University in Connecticut – with years on the road playing in jazz, pop and funk bands.

Recent performances include: Black Diamond Express Train to Hell, a double concerto for cello and sampler, commissioned by the American Composers Orchestra and Th e Orchestra of the Swan, and premiered at Carnegie Hall; the opera/oratorio Arjuna’s Dilemma, produced by Th e Music-Th eatre Group and premiered at the bam Next Wave Festival; Only Breath, commissioned and performed by Maya Beiser, at Th e International Festival of Arts and Ideas,

Ravinia, Carnegie Hall and others; Kyrie, commissioned and performed by Chanticleer, at the Metropolitan Museum of Art’s Temple of Dendur; and Fortune, commissioned and performed by Th e Young Peoples Chorus of New York City. Work for television and fi lm includes: themes for Sex and Th e City (hbo), now with Bill Moyers (pbs) and Wide Angle (pbs); music for Homicide: Life On Th e Street and others.

His latest opera Doubt, with a libretto by John Patrick Shanley, based on his play and screenplay, had workshop performances in Cincinnati in November 2011 as part of Opera Fusion: New Works, a collaboration between Cincinnati Opera, the University of Cincinnati College–Conservatory of Music and Minnesota Opera. Additional workshops took place in Minneapolis and in New York in collaboration with American Opera Projects. Upcoming projects include Winter’s Journey, based on Wilhelm Mueller’s Winterreise poetry cycle, for mezzo-soprano Beth Clayton, electronics and three instrumentalists, commissioned by Music-Th eatre Group.

Cuomo has received numerous grants and awards including: operaAmerica Opera Fund Grant; two National Endowment of the Arts awards for

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Artistic Excellence in the Creation and Development of New Work; American Music Center’s Composer Assistance Grant; Resident Artist Fellow at Th e MacDowell Colony, Th e Hermitage Foundation and Blue Mountain Artist Colony; New York State Council for the Arts recording grant; Argosy Foundation Grant; Mary Flagler Carey Charitable Trust for development and others.

Cuomo also performs as a guitarist with his band, playing jazz interpretations of his fi lm and television work at venues including Birdland, Th e Knitting Factory and others. He has lectured at various institutions including New York University, Wesleyan University (Connecticut), University of Miami (Florida), University of California at San Diego, Hunter College, Hofstra University, Th e Asia Society (New York), the Rubin Museum (New York) and the U.S. Naval Strategic Studies Group. Mr. Cuomo’s music is published exclusively worldwide by Schott Music.

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the artists

For more biographical information about these artists, visit our website at mnopera.org/season or go to get.neoreader.com on your smartphone and then snap this tag.

The appearances of Christine Brewer and Denyce Graves, winners of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis.

The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.

Kevin Newburystage directorKevin Newbury pro-ductions have been presented by many of the top American and internati ona l op era

companies and symphonies including Minnesota Opera, Santa Fe Opera, Houston Grand Opera, Opera Theatre of St. Louis, Carnegie Hall, the Kennedy Center, the San Francisco Symphony, the Baltimore Symphony, L’Opéra de Montréal, Bard Summerscape, Portland Opera, Glimmerglass Opera, the Virginia Arts Festival and the Wexford Festival in Ireland. He has also directed many new plays in New York, including the award-winning Candy and Dorothy. Mr. Newbury’s Virginia for Wexford recently won the 2010 Irish Times Th eatre Award, and his work has won or been nominated for a Grammy Award, a Drama Desk Award and the glaad Media Award. Mr. Newbury just fi nished shooting his fi rst fi lm, Mothra is Waiting, to be released in early 2013. Upcoming engagements include new productions with San Francisco Opera, Santa Fe Opera, Opera Company of Philadelphia, Canadian Opera Company and Lyric Opera of Chicago.

Denyce Gravesmrs. millerRecognized worldwide as one of today’s most exciting vocal stars, Denyce Graves continues to gather popular and critical acclaim

in performances on four continents. She has become particularly well-known to operatic audiences for her portrayals of the title roles in Carmen and Samson et Dalila, bringing her to the Metropolitan Opera, Vienna Staatsoper, Royal Opera, Covent Garden, San Francisco Opera, Opéra National de Paris, Lyric Opera of Chicago, Washington Opera, Bayerische Staatsoper, Arena di Verona, Deutsche Oper Berlin, Opernhaus Zürich, Teatro Real in Madrid, Houston Grand Opera, Dallas Opera, Teatro Colón in Buenos Aires, Los Angeles Opera, the Festival Maggio Musicale Firenze and Minnesota Opera. Ms. Graves’s 2012–2013 season includes the world premiere of Champion as Emelda at the Opera Th eatre of St. Louis, Salome as Herodias at Palm Beach Opera and The Mikado as Katisha with the Lyric Opera of Kansas City. Ms. Graves also makes numerous concert and recital performances.

Christopher FranklinconductorSince having started his career in Italy, Christopher Franklin has conducted at many of the major Italian

opera houses and festivals. Th e houses include Teatro Regio di Torino, the Maggio Musicale Fiorentino, Teatro Comunale di Bologna, the Teatro Carlo Felice di Genova, the Teatro dell’Opera di Roma, the Teatro Massimo di Palermo, the Teatro Piccolo alla Scala di Milano, the Teatro Comunale di Treviso, Teatro Verdi di Salerno, Teatro Pergolesi di Jesi, the Rossini Opera Festival in Pesaro and the Spontini Festival in Jesi. Operatic engagements include Death in Venice with Opera de Belles Artes in Mexico City, Così fan tutte and La Cenerentola with Minnesota Opera, Il barbiere di Siviglia in Lima, Peru, L’elisir d’amore at Teatro Carlo Felice, Une éducation manquée and Rossini’s La cambiale di matrimonio at the Wexford Festival, Sweeney Todd at the Teatro Comunale di Bologna, Th e Merry Widow at both the Teatro San Carlo di Napoli and Carlo Felice di Genova, and concerts with the Filarmonica Toscanini in Parma and the Swiss Radio Symphony Orchestra in Lugano.

Robert Brillset designerFor Minnesota Opera, Robert Brill has designed Bok Choy Variations and La bohème. Other designs for opera include Faust

for the Metropolitan Opera and English National Opera, Wozzeck at San Diego Opera, L’incoronazione di Poppea at Chicago Opera Th eater and the world premiere of Moby Dick for Dallas Opera and other companies in the United States, Canada and Australia. On Broadway, his designs include the 2012 revival of Jesus Christ Superstar, Guys and Dolls (Tony nominated), Assassins (Tony nominated), Design for Living, Buried Child and the set and club design for the critically acclaimed revival of Cabaret. Other recent designs include A Word Or Two and Th e Flaming Lips’ musical Yoshimi Battles the Pink Robots. Brill has designed for the Whitney Museum of American Art, Lincoln Center Th eater, the Stratford Festival, Boston Ballet, the Guthrie, Goodman Th eater, American Conservatory Theater, the Mark Taper Forum and La Jolla Playhouse, among many others. He is a founding member of Sledgehammer Th eatre and a recipient of the Merritt Award for Excellence in Design and Collaboration.

Christine Brewersister aloysiusGrammy Award-winning American soprano Christine Brewer’s appearances in opera, concert and recital are marked by her own

unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. On the opera stage, Brewer is highly regarded for her striking portrayal of the title role in Strauss’ Ariadne auf Naxos, which she has performed with the Metropolitan Opera, Opéra de Lyon, Th éâtre du Chatelet, Santa Fe Opera, English National Opera and Opera Th eatre of St. Louis. She has performed in Tristan und Isolde at San Francisco Opera, Alceste with Santa Fe Opera, Die Frau ohne Schatten at Lyric Opera of Chicago and the Paris Opéra, and Albert Herring at Santa Fe Opera. She is also celebrated for her work on lesser-known operas such as the title roles in Iphigénie en Tauride with the Edinburgh Festival, the Rio de Janeiro Opera and Madrid Opera and Die ägyptische Helena with the Santa Fe Opera.

Paul Careycostume designerPaul Carey makes his Minnesota Opera debut. His recent work in opera includes costumes for Roméo et Juliette (Palm

Beach Opera); Hansel and Gretel (Virginia Opera); El niño (San Francisco Symphony); Der Kaiser von Atlantis (Central City Opera/Colorado Symphony/University of Denver; Greenwich Music Festival); Orpheus and Euridice, Green Sneakers and Glory Denied (UrbanArias, Washington, d.c.), as well as costumes and scenery for h.m.s. Pinafore (Caramoor Festival). In addition to opera, his repertoire encompasses theater, fi lm and dance. He designed the costumes for Mothra Is Waiting [working title], a short fi lm scheduled for release in 2013, directed by Kevin Newbury. Regional and New York theater credits include The Old Globe, Yale Rep, Amphibian (Ft. Worth), Clubbed Th umb, New York Musical Th eatre Festival, Columbia Stages, One Year Lease, nyu Tisch School of the Arts and Williamstown Theatre Festival Workshop. Born in Oregon and raised in South Dakota and Ohio, he is now based in New York City. Upcoming: Il viaggio a Reims (Wolf Trap Opera).

Ms. Brewer’s appearance is generously sponsored by Bernt von Ohlen and Tom Nichol.

Ms. Graves appearance is generously sponsored by by Jane and Ogden Confer.

By arrangement with Schott Music Corporation, New York, publisher of and exclusive representative worldwide for the music of Douglas J. Cuomo. • Dedicated to Sharon, George and Sylvia — Douglas J. Cuomo

Music preparation by Philip Rothman • Additional music preparation by Juan Pablo Contreras

Ecclesiastical Consultant: Reverend Michael R. Moynihan • Sisters of Charity Consultant: Sister Constance Brennan

Special thanks: Sisters of Charity Archive, Donna Langman Costumes, Grace Liturgical Vestments, Arnold Levine Millinery

Steinway grand piano graciously provided by Schmitt Music

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the artists

Adriana Zabalasister jamesAs the title character in the American premiere of Dove’s The Adventures of Pinocchio, Adriana Zabala was recently praised by Th e

Wall Street Journal as showing “tremendous stamina and boy-like flair.” A frequent performer with Minnesota Opera, she was last seen as Isabella Linton in Wuthering Heights. Within the last few seasons Ms. Zabala has been seen at Seattle Opera, Wolf Trap Opera, Syracuse Opera, Arizona Opera, Lyric Opera of San Antonio, Opera Carolina, Lake George Opera, Opera Pacifi c and Opera Saratoga. She has also been a soloist with the Minnesota Orchestra, the Mormon Tabernacle Choir, the Jacksonville Symphony, the Virginia Symphony, the Madison Symphony, the New York Festival of Song and at the Caramoor Music Festival. She has appeared in recital in the Barns at Wolf Trap, Th e Kennedy Center’s Millennium Stage, Th e Dallas Museum of Art, Ventford Hall and at Carnegie Hall. Future roles include Cherebino in Le nozze di Figaro and Sesto in Giulio Cesare with Florentine Opera (Milwaukee).

Matthew Worthfather flynnHailed by the Dallas Morning News for his “dashing , fine bright baritone” and The New York Times for a voice that

is “fully powered and persuasively expressive,” Matthew Worth was recently the featured “Sound Bites” artist in Opera News, and is enjoying successes on both the operatic and concert stages, in all styles from the Renaissance to new repertoire. Matthew Worth’s 2012–2013 season engagements include a debut with Opera Th eatre of St. Louis as Tomes in Smetana’s Th e Kiss and returns to New Orleans Opera as Figaro in Il barbiere di Siviglia, to Boston Lyric Opera as Guglielmo in Così fan tutte, to Virginia Opera as Billy in Carousel and to Opera Memphis as Tarquinius in Th e Rape of Lucretia. In the 2011–2012 season, he made his debut with Lyric Opera of Chicago as Harlekin in Ariadne auf Naxos, with Opera Memphis as Malatesta in Don Pasquale, with Minnesota Opera as Guglielmo in Così fan tutte and with Santa Fe Opera as Valentin in Gounod’s Faust.

Japhy Weidemanlighting designerJaphy Weideman is a New York City-based lighting designer for theater and opera. His opera designs include Bluebeard’s Castle/Il

prigioniero at La Scala and Nederlandse Opera; Don Giovanni and Eugene Onegin at Opéra de Lyon; and Life is a Dream and Don Giovanni at Santa Fe Opera. Most recently he designed Cyrano de Bergerac on Broadway and Great God Pan at Playwrights Horizons in New York. He has lit numerous theater productions in New York for Lincoln Center Theater, Roundabout Theatre Company, The Public Th eater, Second Stage and Labyrinth Th eatre Company. International designs include London’s West End, Royal Shakespeare Co. – Stratford, Edinburgh Festival, National Theater of Greece and National Theater of Korea. Regional theater includes American Conservatory Theatre, Alley, Berkeley Repertory Theatre, Cincinnati Playhouse, Huntington, La Jolla Playhouse, Magic Th eatre, Old Globe, Shakespeare Th eater and Signature Th eatre. Upcoming engagements include Th e Nance at Th e Lyceum on Broadway starring Nathan Lane. Mr. Worth’s appearance is generously sponsored

by Ellie and Tom Crosby, Jr.Ms. Zabala’s appearance is generously sponsored

by Leni and David Moore.

VIOLIN I Allison Ostrander

ConcertmasterJulia Persitz David MickensJudy Thon-Jones Angela HansonAndrea Een

VIOLIN II Laurie PetruconisElizabeth Decker Stephan OrsakMelinda MarshallElise Parker

VIOLA David AuerbachEmily Hagen Laurel Browne Jenny Lind Nilsson

CELLO Jim JacobsonSally Dorer Rebecca Arons

BASS John Michael Smith Constance Martin

FLUTE (double piccolo)

Michele Frisch

OBOE(double English horn)

Michael Dayton

CLARINET Karrin Meff ert-NelsonNina Olsen

(double bass clarinet)

SAXOPHONE(alto, tenor, baritone)

Jared Ziegler

BASSOON Coreen Nordling

HORNMatthew WilsonCharles Hodgson

TRUMPETJohn G. Koopmann

TROMBONEPhillip Ostrander

TUBA Ralph Hepola

TIMPANIKory Andry

PERCUSSION Matthew BarberSteve Kimball

PIANO/CELESTEEric McEnaney

MINNESOTA OPERA ORCHESTRA

PRODUCTION MULTIMEDIAA & C Publishing, Inc. – Wendy Wagner,

Director of Operations

Aleutian Calabay – Publicity Photographer

Michal Daniel – Production Photographer

Classical MPR – Broadcast Recording

QuarterTon Productions – Publicity Video

Mike Reed – Production Sketch Artist

MINNESOTAPUBLIC RADIO®

Joy AmelAlex CotantAndy FlammJoseph JohnsonChristopher KempKevin KleinNorm Tiedemann

SUPERNUMERARIES

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Minnesota Opera’s tradition of presenting new works began in 1963 with Dominick Argento’s The Masque of Angels, and now in 2013 we celebrate our 50th Anniversary with the world premiere of Doubt. New works have been deeply embedded in the DNA of Minnesota Opera, and we are proud to announce that we are only $100,000 from meeting a one-to-one challenge grant.

The Dream of Valentino, a Dominick Argento revival in 2014, and The Manchurian Candidate, a world premiere by Kevin Puts and Mark Campbell for 2015, will bring our tradition into the next half century of the company’s existence .

Minnesota Opera is proud to acknowledge our New Works heritage, and we look forward to celebrating that spirit for the next 50 years.

Join us in the celebration.

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Doubt, 2013

The Grapes of Wrath, 2007

Silent Night, 2011

The Masque of Angels, 1964

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50FIFTY YEARSFIFTY YEARS ofof New WorksNew Works M

nA2thoam

Fred C. and Katherine B. Andersen Foundation

Th e Seaver Institute

Th e Aaron Copland Fund for Music, Inc.

Th e Andrew W. Mellon Foundation

Th ank you to Margaret and Angus Wurtele for their generous matching grant.

1983–1984Hansel and Gretel Madame Butterfl y La Cenerentola Th e Abduction of Figaro a mysterious fire guts the opera’s offices and shops on grand avenue.

minnesota opera moves its offices to park square court in downtown saint paul.

1984–1985Animalen Casanova’s Homecoming Th e Magic Flute dale johnson joins the music staff.

the american premiere of animalen opens the ordway music theatre, followed by the world premiere of dominick argento’s casanova’s homecoming.

kevin smith becomes general manager.

1985–1986Where the Wild Th ings AreHigglety Pigglety Pop!La traviata Th e Elixir of Love Th e King and I la traviata is the first production to be sung in its original language aided by the use of surtitles.

1986–1987Th e Pearl Fishers Th e Postman Always Rings Twice Ariadne auf Naxos South Pacifi cthe metropolitan opera discontinues its national tour, giving the opportunity for minnesota opera to include more traditional repertoire.

1987–1988Die FledermausRigolettoRusalkaOklahoma!minnesota opera celebrates its 25th anniversary season.

1988–1989Don GiovanniSalome Th e Mikado Th e Juniper Tree Show Boat dale johnson is appointed director of artistic planning and kevin ramach becomes assistant technical director.

1989–1990La bohème A Midsummer Night’s Dream Roméo et Juliette Frankenstein, Th e Modern PrometheusMy Fair Lady kevin smith becomes president and general director.

1990–1991NormaTh e Aspern PapersCarmenCosì fan tuttethe minnesota opera center opens in three renovated warehouses in downtown minneapolis, uniting rehearsal, office and shop spaces in one location.

first mpr broadcast.

1991–1992Tosca Th e Pearl Fishers Th e Marriage of FigaroFrom the Towers of the Moon Carousel the opera launches its first major national tour with the magic flute.

its production of carousel opens the newly renovated state theatre.

1992–1993Th e Flying DutchmanArmidaMadame Butterfl yTh e Pirates of Penzancethe opera presents the american premiere of gioachino rossini’s armida, a bel canto rarity.

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PHOTOS:

(1) Die Fledermaus (1987) (2) The Elixir of Love (1985)

(3) Armida (1993) (4) A Midsummer Night's Dream (1990)

(5) Animalen (1984) (6) Where the Wild Things Are (1985)

(7) The Abduction of Figaro (1984)

(8) The Juniper Tree (1989) (9) Frankenstein (1990)

(10) Carmen (1991) (11) Ariadne auf Naxos (1987)

We never started out with the idea of forming a company. A number of us who were close to

the Walker had heard about an opera by Benjamin Britten called Albert Herring. Norton Hintz, who was on the board of the Center Arts Council, was very enthusiastic about the idea of having it performed and told us to go ahead with the project. Th e moment we started to think about it, we got cold feet because the opera, though chamber music, is rather diffi cult. I had the idea of doing an opera by John Blow called Th e Masque of Venus and Adonis, which very few people knew about. Because it was only a 45-minute work, somebody suggested that I write a religious masque to go with this secular one, so I wrote Th e Masque of Angels. We were still not an opera company, just a bunch of amateurs joined together by a common interest, but the performance was such a hit with the audience, received rave reviews and had people calling up the Walker all day long the next day. So we quickly put together a second performance. Martin Friedman said that there seemed to be a real audience for contemporary chamber opera and suggested that we become a company. We performed Albert Herring later that year, which was a big success. And that was the beginning of Center Opera Company.

At fi rst we were going to be very hard-nosed about doing nothing but Mozart and contemporary operas, but little by little, particularly when Wesley Balk came in as director, we started doing innovative productions with standard repertoire like Rigoletto, which was staged in Little Italy.

Th e Opera made its home at the Ordway in 1985, making all the diff erence artistically. When they were working at the Guthrie, the absence of an orchestra pit was the biggest handicap. Th ere, they had a scrim behind the thrust stage, and behind that, the orchestra. For the singers, it was nice because they could be heard better, but of course they could not see the conductor and had

to watch two monitors in the vomitorium. For me the biggest diff erences were the great stage, lots of room in the orchestra pit and a wonderful acoustical space. When Frederica von Stade came here for recitals, she said it was the warmest place in the country to perform. It’s a great venue. Without it, the history of this company might have been diff erent.

I had my one major failure at New York City Opera in 1979 with Miss Havisham’s Fire, which was written for Beverly Sills. She ended up not being able to sing it which, along with the libretto, contributed to its failure. Th e head of Minnesota Opera at that time was Chuck Fullmer and about three years before the opening of the Ordway, he said that the Opera would like me to write a commission. As a matter of fact, he had spoken to Sills and it was to be a co-commission with New York City Opera. Minnesota Opera ended up doing a Swedish opera called Animalen, which was a great fl op. It would have been a matter of pride to say “I opened the Ordway” but in a way, it was better for me that they opened with a failure. When Casanova’s Homecoming was premiered later that season, by contrast it was so good that people probably thought it better than it actually was! Regardless, Sills came to me at intermission on opening night, sat on the arm of my chair and said: “Don’t you ever let anyone else write your librettos except for yourself.”

My entire career is tied in with Minnesota Opera. All of my successes have premiered there: Th e Masque of Angels, Th e Voyage of Edgar Allen Poe, Postcard fr om Morocco, Miss Havisham’s Wedding Night, Waterbird Talk and Casanova’s Homecoming. Even though they were written for other companies, Aspern Papers and next season’s Th e Dream of Valentino will have been performed there too. Th e story of Center Opera/Minnesota Opera is the story of my life as a composer.

Interview with Dominick ArgentoComposer

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The Third Decade1973-1983

To be or not to be …

THOMAS MAR 2 – 10 Trapped by the horrifying truth about his father’s murder, Hamlet becomes the eye of an increas-ingly violent storm. His vengeance destroys everything – even love. Based on Shakespeare’s unforgettable classic, this treasure of French opera shimmers anew with luxurious melodies and searing theatricality.

SUNG IN FRENCH WITH ENGLISH TRANSLATIONS PROJECTED ABOVE THE STAGE.

BRIAN MULLIGAN

MARIE-EVE MUNGER

HAMLETHAMLET

Apply today’s Doubt ticket to a 3-opera package for flexible exchanges and savings!Visit the Ordway box office at intermission, or call 612-333-6669, M – F, 9am – 6pm.

Solve three riddles — or die trying.

PUCCINI APR 13 – 21 The cold, proud princess Turandot puts her suitors to the ultimate test. Boasting one of opera’s most popular arias, “Nessun dorma,” Puccini’s Turandot is an absolute powerhouse finale to Minnesota Opera’s 50th anniversary season.

Irina Rindzuner (Turandot) and Kelly Kaduce (Liù) lead one cast, while Helen Todd and Christie Hageman lead the other in this twin-cast spectacular.

SUNG IN ITALIAN WITH ENGLISH TRANSLATIONS PROJECTED ABOVE THE STAGE.

IRINA RINDZUNER

HELEN TODD KELLY KADUCE

CHRISTIE HAGEMAN

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Check out Tempo on Minnesota Opera's blog every Tuesday: blog.mnopera.org

mnopera.org/tempo | 612-333-6669 tempo@mnopera.org

Tempo is a membership program for both new and seasoned opera-goers ages 21–39. Your $50 Tempo membership includes exciting benefits to help you get the most out of your experience. Anna Bolena Tempo After Party

Offi cial home of Tempo Night Out + After Party for the 2012–2013 season

TEMPO’S TENTH YEAR!

/t | 612 333 6669

February 2: Tempo goes to the Met ... Auditions February 11: Hamlet Happy Hour +

Behind the Curtain February 16: Mimosas & the Met March 2: Hamlet Tempo Night Out + After Party March 23: The Rogue Song

UPCOMING EVENTS

© 2012 ClarePix Photography

spencer stuartis proud to support minnesota opera

We are pleased to present conductor

Maestro Christopher Franklin in

Minnesota Opera’s production of Doubt.

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education at the opera

Minnesota Opera’s premiere vocal training program for students will perform three exciting one-act operas.

Shoes for the Santo Niño by Stephen Paulus – based on the popular New Mexican folk tale, tells the story of young Julianita meeting the Santo Niño.Down in the Valley by Kurt Weill – an American folk opera about the tragic fate of a young boy who fights to defend the girl he loves.Noye’s Fludde by Benjamin Britten – a magical score telling the story of Noah and the Ark.

Performed in English with English titles projected above the stage, these performances are ideal for children.

Project Opera performs excerpts from Down in the Valley in the lobby of the Ordway before the Sunday Matinee of Anna Bolena.

Project Opera presents three one-acts!

Behind the CurtainMonday, February 11, 20137-8:30pm

Look Behind the Curtain at Hamlet with director Thaddeus Strassberger, conductor Christopher Franklin and members of the creative team as they take you through the history of Ambroise Thomas’ beautiful opera and the process involved in mounting it today.

Purchase tickets at mnopera.org or call the Minnesota Opera Ticket Office at 612-333-6669. ($35/adult, $28/subscriber, $10/student).

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Pucalat($3

February 22 (10am & 7pm)February 23 (1 & 4:30pm)

The Lab Theater700 North First Street

Minneapolis, MN 55401

For tickets, call 612-333-6669$5/child • $15/adult

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TEMPO BOARD AND VOLUNTEERS

Ryan AlbergThomas BakkenLeslie CareyMelissa DaulJennifer EngelLaura GreenBenjamin Jones

(Board Chair)

Carolina LamasSusan N LeppkeKristin Matejcek

(Staff Liaison)Megan MehlJamie NiemanPolina SapryginaRhonda SkobyLauren Viner

President and General Director | Kevin RamachArtistic Director | Dale JohnsonMusic Director | Michael Christie

ARTISTICArtistic Administrator | Roxanne Stouff erArtist Relations and Planning Director

Floyd AndersonDramaturg | David SanderArtistic Associate | Bill MurrayResident Artists | Aaron Breid, Daniel Ellis,

Christie Hageman, John Robert Lindsey, Eric McEnaney, Sheldon Miller, Richard Ollarsaba, Matthew Opitz, Mary-Lacey Rogers, Victoria Vargas

Master Coach | Mary Jo GothmannResident Artist Program Instructors |

Cecile Crozat-Zawisza, Barbara Kierig, Brian McCullough, George Smith, Jenya Trubnikava

COSTUMESAssistant Costume Shop Manager | Beth SandersWardrobe Supervisor | Emily RosenmeierDrapers | Chris Bur, Donna Langman,

Emily Rosenmeier, Yancy ThriftDyer/Painter | Marliss Jensen First Hands | Helen Ammann, Rebecca Ballas,

Kelsey GlasenerStitchers | Ann Habermann, Ariella Lebowitz,

Catherine Manning, Rachel SkudlarekKnitter | Corinna SmithWig/Makeup Supervisors | Sarah Bourne,

Priscilla Bruce, Ashley Joyce

SCENERYTechnical Director | Mike McQuistonProperties Master | Jenn MaatmanProperties Assistant | Michael C. LongLighting Coordinator | Ray StevesonAssociate Set Designer | Steven KempAssistant Set Designer | Julia LeeAssistant Lighting Coordinator | Tom RostHD Video Coordinator | Holly CarpenterProduction Carpenter | JC AmelScene Shop Foreman | Rod AirdMaster Carpenters | Steven Rovie, Eric VeldeyCarpenters | Steve Dalglish, Nate KulenkampCharge Painter | Jeff ery MurpheyPainter | Rachel Madden

PRODUCTIONProduction Stage Manager | Alexander FarinoAssistant Stage Managers | Shayna j. Houp,

Andrew LandisProduction Administrative Assistant |

Katherine Cattrysse

ADMINISTRATIONFinance Director | Jeff CoutureOperations/Systems Manager | Steve MittelholtzHR/Accounting Manager | Jennifer ThillDirector of Board Relations | Theresa MurrayFinance Assistant | Michelle GouldData Specialist | Rosalee McCready

DEVELOPMENTDirector of the Annual Fund | Dawn LovenInstitutional Gifts Manager | Beth ComeauxAdvancement Manager | Kelly KuczkowskiDonor Events and Gala Manager | Emily SkoblikIndividual Gifts Offi cer | Jenna Wolf

EDUCATIONCommunity Education Director | Jamie AndrewsTeaching Artist | Bergen BakerProject Opera Music Director | Dale KruseProject Opera Accompanist | Kathy KraulikProject Opera Program Assistant | Anna Schmidt

MARKETING/COMMUNICATIONSMarketing & Communications Director | Lani WillisMarketing Manager | Katherine CastilleCommunications Manager | Daniel R. ZillmannMarketing Associate | Kristin MatejcekOnline Content Specialist | Adam HoliskyTicket Offi ce Manager | Julie BehrAssistant Ticket Offi ce Manager | Kevin BeckeyTicket Offi ce Associate | Sarah FowlerTicket Offi ce Assistants | Carol Corich,

Kärsten Jensen, Emma Lynn, Jane Samsal, Carrie Walker

Communications Interns | Sabrina Crews, Theodore Schaller, Corinne Standish, Luke Thompson

minnesota opera staff

Gerald BensonDebra BrooksJerry CassidyJudith DuncanJane FullerJoan GackiMerle Hanson

Kärsten JensenJeanie JohnstonRobin KeckDavid LightstoneJenny LightstoneJerry LillquistJoyce Lillquist

Mary McDiarmidVerne MelbergBarbara MooreDouglas MyhraCandyce OsterkampDan PanshinPat Panshin

Eric PetersonSydney PhillipsWendi SottBarbara Willis

minnesota opera volunteersThe following volunteers contribute their time and talent to support the key activities of Minnesota Opera. If you would like to learn more about volunteering please visit mnopera.org/volunteer, email volunteering@mnopera.org or call Jenna Wolf at 612-342-9569.

BOARD OF DIRECTORS

OFFICERS

Rachelle D. Chase, ChairKevin Ramach, President and General DirectorJames Johnson, Vice ChairRobert Lee, SecretaryPatricia Johnson, Treasurer

DIRECTORS

EMERITI

HONORARY DIRECTORS

LEGAL COUNSEL

James A. Rubenstein, Moss & Barnett

Minnesota Opera is a proud member of The Arts Partnership with Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra and The Schubert Club.

Karen BachmanJohn A. Blanchard, IIIBurton Cohen

Julia W. DaytonMary W. Vaughan

Patricia BeithonWendy BennettShari BoehnenRachelle D. ChaseJane M. ConferJodi DehliSara DonaldsonChip EmeryBianca FineSharon HawkinsRuth S. HussHeinz F. HutterJames JohnsonPatricia JohnsonJames LangdonChristine LarsenRobert LeeLynne E. Looney

Steven MahonDavid MelineLeni MooreAlbin “Jim” NelsonLuis Pagan-CarloJose PerisElizabeth RedleafConnie RemeleSergio RialDon RomanaggiChristopher Romans Mark SchwarzmannNadege SouvenirSimon StevensVirginia StringerH. Bernt von OhlenMargaret Wurtele

Dominick ArgentoPhilip BrunelleDolly Fiterman

Norton M. HintzLiz KochirasPatricia H. Sheppard

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annual fund | individual giving It is with deep appreciation that Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides the financial foundation which makes the Opera’s artistic excellence possible.

For information on making a contribution to Minnesota Opera, please call Dawn Loven, Director of the Annual Fund at 612-342-9567, or email her at dloven@mnopera.org.

camerata circlePlatinum $7,500–$9,999Allegro Fund of

Th e Saint Paul FoundationPatricia and John BeithonShari and David BoehnenRachelle Dockman ChaseSharon and Bill HawkinsPatricia Johnson and Kai BjerknessErwin and Miriam KelenRobert L. Lee and Mary E. Schaff nerJudy Mortrude and Steven MahonJose Peris and Diana Gulden Lois and John RogersChris and Mark SchwarzmannCarolyn, Sharon and Clark Winslow

Gold $5,000–$7,499Anonymous (2)Martha Goldberg Aronson and

Daniel AronsonMartha and Bruce Atwater Fund of

Th e Minneapolis FoundationWilliam Biermaier and

David HansonKathleen CallahanMary Lee DaytonJodi DehliDolly J. Fiterman

Alfred and Ingrid Lenz HarrisonMargaret and Andrew HoultonMr. and Mrs. Philip Isaacson Cynthia and Jay IhlenfeldDebra and James LakinChris Larsen and Scott PetersonMary and Barry LazarusIlo and Peggy LeppikLynne LooneyMr. and Mrs. Donald LuckerMr. and Mrs. Reid MacDonaldBarbara and David MelineKendrick B. Melrose Family FoundationDiana and Joe MurphyBill and Barbara PearceShawn and Brad PleimannStephanie Prem and Tom OwensSergio RialPatricia and Don RomanaggiJennifer and Chris RomansSusan and Barry SnyderNadege Souvenir Virginia L. and Edward C. StringerDr. and Mrs. Andrew J. Th omasLori and Herbert Ward

Silver $2,500–$4,999Anonymous (4)Nina and John Archabal

Annette Atkins and Tom JoyceAlexandra O. BjorklundKen and Peggy BonnevilleDr. Lee Borah, Jr.Margee and Will BrackenConley Brooks FamilyJuliet Bryan and Jack TimmChristopher J. BurnsAnn and Glen ButtermanMr. and Mrs. Richard A. Carlson Darlene J. and Richard P. CarrollNicky B. CarpenterGisela CorbettPage and Jay Cowles Th omas and Mary Lou DetwilerMona and Patrick DewaneRalph D. EbbottNancy and Rolf EnghRondi Erickson and Sandy LewisPatricia R. FreeburgMeg and Wayne GisslenMrs. Myrtle GretteMichele Harris and Peter TangheDorothy Horns and James RichardsonDr. and Mrs. Arthur HorowitzBill and Hella Mears HuegDale A. JohnsonRobert and Susan JosselsonWarren and Patricia KellyLyndel and Blaine King

Robert Kriel and Linda KrachDavid MacMillan and Judy KrowHelen L. KuehnRoy and Dorothy MayeskeMary Bigelow McMillanKarla MillerDr. and Mrs. Alfred MooreSandy and Bob MorrisNancy and Richard NicholsonMr. and Mrs. Rolf PetersMarge and Dwight PetersonMrs. William PhillipsSara and Kevin RamachRhoda and Paul RedleafMary and Paul ReyeltsNina and Ken RothchildJames A. Rubenstein, Moss & BarnettKay Savik and Joe TashjianMary H. and Christian G. SchrockGloria and Fred SewellDrs. Joseph and Kristina Shaff erLynda and Frank SharbroughStephanie Simon and Craig BentdahlStephanie C. Van D'EldenWilliam Voedisch and Laurie CarlsonDr. Craig and Stephanie WalvatneNancy and Ted WeyerhaeuserWoessner Freeman Family Foundation

artist circle$1,000–$2,499Anonymous (4)Mary and Charles AndersonKim A. AndersonLowell Anderson and Kathy WelteJamie Andrews and Jane Kolp-AndrewsRuth and Dale BachmanIn memory of Kent BalesAnn and Th omas BagnoliMr. and Mrs. Judson Bemis, Jr. Donald BensonPatricia and Martin BlumenreichMrs. Paul G. BoeningAllan BradleyEllen and Jan BreyerRita and Kenneth BrittonJuliet Bryan and Jack TimmScott CabalkaElwood and Florence CaldwellJoan and George CarlsonMr. and Mrs. Richard A. CarlsonAlexis and Michael ChristieWanda and David ClineRusty and Burt CohenIn Memory of Kathy ColemanBarb and Jeff CoutureSusan and Richard Crockett

Mrs. Th omas M. Crosby, Sr.Helen and John CrossonJeff and Wendy DankeyMary and Kevin DateFran DavisJudson DaytonRuth and Bruce DaytonTh e Denny Fund of

Th e Minneapolis FoundationRebecca and Jay DebertinMargaret DiBlasioElise DonohueJoe Dowling and Siobhan Cleary Joan DuddingstonJoyce and Hugh EdmondsonAnn FankhanelEster and John FeslerJoyce and Hal FieldGail FiskewoldMelanie and Bruce FlessnerSalvatore Silvestri FrancoEmil and Robert FredericksenKris and Kristina FredrickBradley Fuller and Elizabeth LincolnChristine and Jon GallowayChristine and Michael GarnerKaty Gaynor

Mr. and Mrs. R. James GesellHeidi and Howard GilbertStanley and Luella GoldbergSima and Clark Griffi th Bruce and Jean GrussingMr. and Mrs. Roger HaleElizabeth and Jule HannafordHackensack Fund of

Th e Saint Paul FoundationDon Helgeson and Sue ShepardKaren and John Himle Andrew Holly and Svea Forsberg-HollyJean McGough HoltenTh omas Hunt and John WheelihanEkdahl Hutchinson Family Fund of

Th e Minneapolis FoundationTeresa and Chuck JakwayBarbara JenkinsMargaret and Philip JohnsonWadad KadiStan and Jeanne KaginNancy and Donald KappsTh omas A. Keller, iiiE. Robert and Margaret V. Kinney Fund of

Th e Minneapolis FoundationHugh Klein and Judy Lebedoff Gerard Knight

Mrs. James S. KochirasKyle Kossol and Tom BeckerConstance and Daniel KuninMark and Elaine LanderganChristl and Andrew LarsonStefanie Lenway and Tom MurthaMr. and Mrs. Seymour LevyJoyce and Jerry LillquistDiane and David Lilly, Jr.Bill LongHelen and Ben LiuDawn M. LovenDr. Caliann LumMargery Martin and Dan FeidtBarbara McBurneyLaura McCartenHelen and Charles McCrossanSheila McNallyDeb and Jon McTaggartJudith and James MellingerVelia R. MelroseDavid and LaVonne MiddletonBarbara and Edward Mills Judy and David MyersElizabeth B. MyersKaye and Terry MyhreLouis Newell

bel canto circlePlatinum $25,000 and aboveAnonymous (1)Tracy and Eric AanensonMary and Gus BlanchardJane M. and Ogden W. ConferJulia W. DaytonVicki and Chip EmeryRuth and John HussHeinz HutterJames E. JohnsonLucy Rosenberry Jones

Th e Art and Martha Kaemmer Fund of HRK Foundation

Elizabeth RedleafMrs. Mary W. VaughanC. Angus and Margaret Wurtele

Gold $15,000–$24,999Ellie and Tom Crosby, Jr.Cy and Paula Decosse Fund of

Th e Minneapolis Foundation

Sara and Jock DonaldsonMr. and Mrs. William Frels N. Bud and Beverly Grossman FoundationWilliam I. and Bianca M. Fine

Charitable Trust Moore Family Fund for the ArtsAlbin and Susan NelsonMary Ingebrand Pohlad Ronning Family FoundationBernt von Ohlen and Tom Nichol

Silver $10,000–$14,999Anonymous (2)Karen BachmanSusan BorenKathleen and John Junek Harvey T. McLainKay Ness and Chris WolohanConnie and Lew Remele Mary Ingebrand PohladJoseph SammartinoMaggie Th urer and Simon Stevens

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artist circle (continued)Joan and Richard NewmarkPat and Dan PanshinDerrill M. PankowPaula PatineauSally and Tom Patterson Suzanne and William PayneSuzanne and Rick PepinSusan and David PlimptonMary and Robert PriceKari and Dan RasmusTom Rassieur and Chichi Steiner

Mr. and Mrs. Winthrop Rockwell John and Sandra Roe FoundationTh omas D. and Nancy J. RohdeChris and Jeff RotschKim and Peter RueKristine and Roger RuckertTerry Saario and Lee LynchSampson Family Charitable FoundationDr. and Mrs. Richard J. SchindlerPeter and Bonnie SipkinsKevin and Lynn Smith

Ardath and Glenn SolsrudMatthew SpanjersJulie and Bruce SteinerDonna StephensonKendall and Mitchell Stover Dana and Stephen StrandMichael Symeonides and Mary PierceTempo Board MembersDr. Norrie Th omasSchelly and Bryn VaalerCindy and Steven Vilks

Mr. and Mrs. Philip Von BlonBryan Walker and

Christine Kunewa-WalkerJames and Sharon WeinelSonja and Jerry WengerFrances and Frank Wilkinson Lani Willis and Joel SpoonheimJulie and Charlie Zelle

patron circleGold $750–$999Barbara S. BelkGerald and Phyllis BensonDebra Brooks and James MeunierMs. Susanne Haas and Mr. Ross FormellBryce and Paula JohnsonJ. Michael PickleA.M. Rock, M.D.David E. SanderHarriet SpencerWarren StortroenJohn W. Windhorst Jr.

Silver $500–$749Anonymous (4)Arlene and Tom AlmAlvaro Alonso August J. Aquila and Emily HaliziwDr. and Mrs. Orn ArnarSuzanne AsherDan Avchen and David JohnsonJo and Gordon Bailey Family Fund of the

Catholic Community FoundationRebecca Arons and Th omas Basting, Jr.Donald and Naren BauerCarl and Joan BehrEstelle T. Bennett

Scott D. BjeldeDianne BrookeAllen Brookins-BrownDr. Hannelore BruckerTh omas and Joyce BrucknerJoann CierniakJ.P. CollinsNorma DanielsonEileen Dauer Amos and Sue DeinardMary Elise DennisJoshua A. DorothyHolli EgerstromC.D.F. FoundationTerence Fruth and Mary McEvoy Family

Fund of Th e Minneapolis FoundationJane FullerJoan and William GackiDavid and Terry GilberstadtDr. Richard GregoryJennifer Gross and Jerry LeFavre Roger L. Hale and Nor HallChris and David Hansen Ernest HarperBlanche and Th ane HawkinsFrederick J. Hey, Jr.Norton and Mary HintzDiane and Paul JacobsonBarbara Jenkins

Drs. Charles and Sally JorgensenMarkle KarlenCarole and Joseph KillpatrickScott and Karla LalimChris and Marion LevyRuth W. LyonsMahley Family FoundationDusty MairsTom and Marsha MannCarolyn and Charles MayoKatherine MerrillEllen MichelsonAnne W. MillerSteven J. MittelholtzJack and Jane MoranJill Mortensen and S. Kay PhillipsAnn and John O’LearyDennis R. OlsonRuth and Ahmad OrandiJim Pagliarini and Elizabeth Raymond James A. PayneLana K. PembertonEric Peterson and Jenna WolfDwight and Christina PorterCarroll and Barbara RaschDennis M. ReadyDebra RectenwaldLawrence M. RedmondGeorge Reid

Bryan Roberts and Marcy Jeff erson Richard T. and Liane A. RoselEnrique and Clara RotsteinKathleen and Mike RuhlandJohn and Jan SargentDoris Jean SeelyCherie and Robert ShreckStanislaw SkrowaczewskiDr. Leslie W. SmithCliff ord C. and Virginia G. Sorensen

Charitable Trust of Th e Saint Paul Foundation

Kristi and Mark Specker Jon Spoerri and Debra ChristgauChichi SteinerJudith StoneRoxanne Stouff erDr. Anthony Th einJill and John Th ompsonJean Th omson and John SandboEmily Anne and Gedney TuttleDavid L. WardMary WeinbergerHoward and Jo WeinerBarbara and Carl WhiteBarbara and James Willis

associate circle$250–$499Anonymous (2)Paul and Val AckermanTh omas O. AllenQuentin and Mary AndersonKatherine AndersonLinda Z. AndrewsJerry ArtzMarcia J. AubineauEric S. Anderson and Janalee R. AureliaDan AvchenRonald and Kay BachTh omas BaileyJames and Gail BakkomBishu and Irina BandyopadhyayLaird BarberKevin BeckeyBill BertramJudith and Arnold BrierPhilip and Carolyn BrunelleStephen BubulKeith Campbell Renee Campion and David WalshJerome and Linda CarlsonKatherine L. CastilleIn Memory of Kathy ColemanSandy and Doug ColemanBrenda ColwillKay ConstantineJeanne E. CorwinBarb DavisBarry DivineNeal Doughty and Darya GemmelTracy Elft mannHerbert and Betty FantleCharles and Anne Ferrell

Brian M. FinstadChristine FlemingMelanie and Bruce FlessnerSusan E. Flint and Michael LeirdahlDavid and Margene FoxJudith Garcia Galiana and

Alberto GalianaGreta and Paul GarmersLois and Larry GibsonFather Joseph P. Gillespie Earl and Mary GloecknerRichard and Marsha GouldHunt Greene and Jane PiccardWilliam and Aimee GuideraMargaret GuntherRussell and Priscilla HankinsBonita HansonDouglas and Doris HappePeter and Rebecca HawthorneJill A. HeathWendy HeckStefan and Lonnie HelgesonSharon and Cliff HillAndrew Holey and Gary WhitfordReverend and Mrs. Henry H. HooverWorth L. HudspethMargaret F. HumphreyRay JacobsenChristina and Nicholas JermihovSharon and Fredrik JohnsonKurt JohnstonDr. and Mrs. Eric Jolly Erika and Herb KahlerJim and Kathleen KargesKathryn KeeferJanice Kimes

Steve KnudsonKathleen KraulikJohn Krenzke and Michelle DavisDale Kruse and Tim SneerMaureen Kucera-WalshKelly and Adam KuczkowskiRobert and Venetia KudrleAlexandra KulijewiczBeatrice H. LangfordKenyon S. LathamWilliam Lough and Barbara PinaireDr. Joan E. MaddenDonald and Rhoda MainsKristin and Jim MatejcekDavid MayoRosalee McCreadyBarbara McGraw Fund of

Th e Minneapolis FoundationMalcolm and Wendy McLeanLaurie and Dave MechRobert MessnerJane and Joseph MicallefVirginia MillerMichael J. and Judith MollerusAnne MollerusBrad Momsen and Rick BuchholzTh eresa and Jim MurrayWilliam MurrayVirginia Dudley and William MyersSarah NagleMerritt C. NequetteLucia NewellLowell and Sonja NoteboomDr. Dorothy NovakKathleen Nye-ReilingPatricia A. O’Gorman

Donna and Marvin OrtquistScott J. PakudaitisJulia and Brian PalmerJohn and Margaret PerryCarol PetersonWalter Pickhardt and Sandra ResnickJoan M. PrairieDr. Hanan J. RosensteinDaniel RothTrish and Steve RowleyDavid M. SandozMary SavinaJon L. SchaskerDeborah and Allan SchneiderPaul L. SchroederMrs. Donald SellMr. and Mrs. Morris ShermanDebra Sit and Peter BergeEmily SkoblikDaniel J. Spiegel Family FoundationTh omas and Sharon Stoff elDelroy and Doris Th omasKatharine E. Th omasRyan TraversariMark Traynor and Jennifer PetersonSusan TrumanArnold WalkerElaine B. WalkerDon and Holly WeinkaufDavid WendtJohn and Sandra WhiteWendy WildungDavid and Rachelle WilleyJohn M. WilliamsDaniel Richard Zillmann

Th ese lists are current as of January 8, 2013, and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign.If your name is not listed appropriately, please accept our apologies and contact Jenna Wolf, Individual Gift s Offi cer, at 612-342-9569.

annual fund | individual giving

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annual fund | individual giving

legacy circleMinnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to Minnesota Opera. If you have already made such a provision, we encourage you to notify us so that we may appropriately recognize your generosity.

Anonymous (5)Valerie and Paul AckermanTh omas O. AllenMr. and Mrs. Rolf AndreassenMary A. AndresKaren BachmanRandolph G. Baier*Mark and Pat BauerMrs. Harvey O. Beek *Barbara and Sandy Bemis *C. T. Bundy, IIJoan and George CarlsonDarlene J. and Richard P. CarrollJulia and Dan CrossJudy and Kenneth * DaytonMrs. George DotyRudolph Driscoll *Anne P. DucharmeSally Economon *

Ester and John FeslerPaul FroeschlKaty GaynorRobert and Ellen GreenIeva Grundmanis *Julia Hanna*Ruth Hanold *Fredrick J. Hey, Jr.Norton M. HintzJean McGough HoltenCharles Hudgins *Dale and Pat JohnsonDrs. Sally and Charles JorgensenRobert and Susan JosselsonCharlotte * and Markle KarlenMary KeithahnPatty and Warren KellyMargaret Kilroe Trust *Blaine and Lyndel King

Gretchen Klein *Bill and Sally KlingGisela Knoblauch *Mr. and Mrs. James KrezowskiRobert Kriel and Linda KrachVenetia and Robert KudrleRobert Lawser, Jr.Jean Lemberg *Gerald and Joyce LillquistDavid MayoBarbara and Th omas * McBurneyMildred McGonagle *Beth McGuireMary Bigelow McMillanMargaret L. and Walter S. * MeyersJohn L. Michel and H. Berit MidelfortSusan Molder *Edith Mueller *Kay Ness

Joan and Richard NewarkPhilip Oxman and Harvey ZuckmanScott PakudaitisSydney and William* PhillipsRichard G. * and Liane A. RoselMrs. Berneen RudolphMary SavinaFrank and Lynda SharbroughDrew StewartJames and Susan SullivanGregory C. SwinehartStephanie Van D’EldenMary VaughanDale and Sandra Wick

* In Rembrance

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.

RESIDENT ARTIST CABARET:1940S RADIO SHOW

Minnesota Opera’s Resident Artists will transport you to the 1940s as they delight with crowd-pleasing favorites from the height of the “live radio hour” era. Indulge in an evening that will feature classical and popular music, food, wine and old-time sound eff ects – an experience that will not be soon forgotten. Stay for the Summit After Party, enjoy some beer and dance the night away!

This special night of fundraising, hosted by the Donor Events Committee, will celebrate the world-class artistry of Minnesota Opera and

benefi t its artistic and education programs.* $75 of the $150 ticket price is tax deductable. Photography by Theresa Murray

Don Quixote and Dulcinea – RAP Cabaret 2012

Friday, March 15, 20136:00 pm Arrival7:00 pm Staged Radio Show Performance9:00 pm Summit After Party

$150/person Cabaret and Summit After Party *$25/person Summit After Party only

Minnesota Opera Center620 North First StreetMinneapolis, MN 55401

1940’s Attire Admired but not Required.For more information or to register,Please contact Emily Skoblik ateskoblik@mnopera.org or612-342-9553 by March 8.

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Season SponsorAscent Private Capital Management of

U.S. Bank

Production SponsorsNabucco

Ascent Private Capital Management of U.S. Bank

DoubtNational Endowment for the ArtsTh e Aaron Copland Fund for Music, Inc.

HamletTarget

Conductor AppearancesSpencer Stuart

Camerata DinnersAbbot Downing

Gala SponsorsTarget, Premier Sponsor3MAscent Private Capital Management of

U.S. BankMedtronicSpencer Stuart

Production Innovation SystemGeneral Mills

Resident Artist ProgramWenger Foundation

Tempo After PartiesSakura

Opera InsightsComcast

Media SponsorMinnesota Public Radio

Sponsors $25,000+3M FoundationAmeriprise Financial, Inc.General Mills FoundationTh e McKnight FoundationTh e Medtronic FoundationTh e Michelson Family FoundationMinnesota State Arts BoardNational Endowment for the ArtsTargetU.S. Bancorp FoundationU.S. BankUnitedHealth GroupTh e Wallace Foundation

Platinum $10,000–$24,999Th e Aaron Copland Fund for Music, Inc.Abbot DowningFred C. and Katherine B. Andersen

FoundationBest Buy Children’s FoundationCargill FoundationComcastDorsey & Whitney FoundationEcolab FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationMAHADH Fund of HRK FoundationSpencer StuartTravelers FoundationValspar FoundationWells Fargo Foundation MinnesotaWenger FoundationXcel Energy Foundation

Gold $5,000–$9,999AccentureBoss FoundationBriggs & Morgan, P.A.Edward R. Bazinet Foundation

Harlan Boss Foundation for the ArtsR. C. Lilly FoundationMayo ClinicPentair FoundationTh e Carl and Eloise Pohlad Family

FoundationRahr FoundationRBC Wealth ManagementSchwegman, Lundberg &

Woessner, p.a.Securian FoundationTh omson ReutersTwin Cities Opera Guild

Silver $2,500–$4,999Cleveland FoundationDellwood FoundationFaegre Baker DanielsHutter Family FoundationLe Jeune Family FoundationTh e Elizabeth C. Quinlan FoundationMargaret Rivers FundRobins, Kaplan, Miller & CiresiTennant Foundation

Bronze $250–$2,499Bobby & Steve’s Auto World

Youth FoundationTh e Curtis L. Carlson Family FoundationEnterprise Holdings FoundationHammel, Green and Abrahamson, Inc.McVay FoundationOnan Family FoundationPeravid FoundationSewell Family FoundationSit Investment FoundationWells Fargo Insurance Services

corporations, foundationsand government

minnesota opera sponsors Minnesota Opera gratefully acknowledges itsmajor institutional supporters:

For information on making a corporate or foundation contribution to Minnesota Opera, please contact the Institutional Gift s Manager Beth Comeaux at 612-342-9566 or email her at bcomeaux@mnopera.org.

$100,000+

$50,000–$99,999

$25,000–$49,999

$10,000–$24,999

annual fund | institutional giving

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

More than simply supporting students, giving to the U of M shares the light

of discovery with everyone. Illuminating talents that can stir the souls of our

state and beyond. Be a light for today’s students at giving.umn.edu.

Crookston Rochester Twin CitiesMorrisDuluth