J O H N A DA M S
Isabel Bayrakdarian
Dawn Upshaw
In association with Minnesota Public Radio • Minnesota Opera • The Saint Paul Chamber Orchestra • VocalEssence
Michael Schade, tenor and Hannelore Auer, pianoFriday, June 10 • 8 P.M.
Isabel Bayrakdarian, soprano and Warren Jones, pianoSaturday, June 11• 8 P.M.
New York Festival of Song: “Latin Lovers”Steven Blier, piano, Hugh Russell, baritone,
Jennifer Aylmer, soprano, Jeffrey Picón, tenorTuesday, June 14 • 8 P.M.
Bejun Mehta, countertenor and Kevin Murphy, pianoFriday, June 17 • 8 P.M.
Dawn Upshaw, soprano and Gilbert Kalish, pianoSaturday, June 18 • 8 P.M. • SOLD OUT
THE SPCO CENTER • HAMM BUILDING
408 ST. PETER STREET • SAINT PAUL
Gallery 205 • Landmark Center
— Recital — Maria Jette, soprano
Wednesday, June 15 • 8 P.M.(with Michael Jorgensen, baritone & Esther Wang, piano)
— Master Classes — Cynthia Munzer, soprano • Monday, June 13 • 3 P.M.Bejun Mehta, countertenor • Thursday, June 16 • 3 P.M.Dawn Upshaw, soprano • Friday, June 17 • 3 P.M.
Sunday, June 12 The Schubert Club Bandstand, Raspberry Island
Co-sponsored with MPR
Strolling Song Picnic • Noon to 3 P.M.VocalEssence Ensemble Singers • 3 P.M.
Philip Brunelle, Artistic Director
Art Song Recitals
Public Concert • Free
Landmark Center • Free
The Schubert ClubSaint Paul
Summer SongFestival
June 10 – 18, 2005 • Saint Paul, Minnesota
Beautiful Singing � Intimate SettingDowntown Saint Paul
Single Tickets: $30.00Season Tickets: All five concerts for $120
To Order: Please call 651-292-3268 and/orVisit our web site: www.schubert.org
�SPONSORED BY:
Ecolab Foundation • Frauenshuh CompaniesKatherine B. Andersen Fundof the Saint Paul Foundation
Lowry Hill Private Wealth ManagementF. R. Bigelow Foundation
5•
ni
xo
n
in
c
hi
na
Contents
The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson
Chair, Board of Directors John A. Blanchard, III
The Minnesota Opera, 620 North First Street
Minneapolis, MN 55401 (612) 333-2700
www.mnopera.org
The Minnesota Opera
is a member of OPERA America.
This activity is made possible in part by a grant provided by the Minnesota State ArtsBoard through an appropriation by the Minnesota State Legislature. This project is
supported in part by a grant from the National Endowment for the Arts.
May 2005
The Minnesota Opera Programis published by Arts & Custom Publishing Co., Inc.
Corporate Administrator/Publisher Todd HydeAssoc. Publisher/Director of Production Marsha Kitchel
Senior Account Executives Liesl Hyde, Yvonne Christiansen Creative Designer Michael Gutierres
Production Designers Jill Adler, Sue Sentyrz Klapmeier,Robert Ochsner
ARTS & CUSTOM PUBLISHING CO., INC.1001 Twelve Oaks Center Dr., Wayzata, MN 55391
Phone (612) 375-9222 FAX (612) 375-9208
Large-print and Braille programs are available at the Patron Services O∑ce
The Minnesota Opera Sta∂ and Volunteers . . . . . . . . . . . . . . . . . . . . 6
Notes from the Leadership. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2005 – 2006 Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Nixon in China . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Background Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
John Adams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Artist Interview: Antony Walker . . . . . . . . . . . . . . . . . . . . . . . 14
Director’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Minnesota Opera Chorus and Orchestra. . . . . . . . . . . . . . . . . . 22
Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . 23
Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . 26
Cafe,Bakery,Wine & Pizza Bar
850 Grand Avenue,St Paul 55105651-224-5687 www.cafelatte.com
Keri Picket
th
e m
inn
es
ot
a o
pe
ra
•6
Minnesota Opera StaffPresident & CEO Kevin SmithArtistic Director Dale Johnson
Welcome to today’s production of Nixon inChina. For more than four decades TheMinnesota Opera has enriched the culturallife of our community by producingoutstanding and innovative operas thatinspire and entertain.
U.S. Bank is honored to sponsor the 2004– 2005 season. We are proud of our 20+year relationship with The Minnesota Operaand of our sponsorship at this great settingof the Ordway in St. Paul.
At U.S. Bank, we support great dreams,great art and great arts organizations. Theyenrich the community with vibrancy,creativity, and excellence. As the sixthlargest bank in America today, U.S. bank isthe only major bank headquartered inMinnesota, and we’re deeply committed togiving back in this community.
Thank you for coming and enjoy theperformance.
Jose A. Peris, Senior Vice President, RegionManager, U.S. Bank Private Client Group,and Minnesota Opera board member
ArtisticArtistic Administrator . .Roxanne Stou∂er CruzArtistic Associate . . . . . . Floyd AndersonCommunity Education Director . . . . . . . . .
Jamie AndrewsDramaturg . . . . . . . . . . . . . David SanderProduction Stage Manager . . . Alex FarinoAssistant Stage Managers . . .Kristen E. Burke,
Katie PreissnerHead of Music . . . . . . . . . . .Bruce StasynaResident Artist Assistant
Conductor . . . .Christopher ZemliauskasResident Artist Coach/
Accompanist . . . . . . . . . . .Korey BarrettResident Artist Singers . .Raymond Ayers,
Jonathan Carle, Theodore Chletsos, Anna Jablonski, Seth Keeton
RAP Faculty . . .Allysum Tai Chi Center,Nancy Boler, Peter Robinson
Teaching Artist . . . . . . . . .Angela KeetonKIDS . . . . . .Lloyd Clausen, Paul Cochran,
Mario Diaz-Moresco, Andrew Penning,
Sara SawyerChildren’s Chorusmaster . . .Janice KimesArtistic Intern . . . . . . . . . . . .Matt Bluem
CostumesCostume Director . . . . . . . .Gail BakkomAssistant Costume Director . . .Beth SandersDrapers . . . . . . . . . . . . . . . . . . .Chris Bur,
Yancey Thrift First Hands . . . . . . . . .Helen Ammann,
Valerie Hill, Stephanie VogelStitchers . . . . . . . . . . . . .Rebecca Ballas,
Jennifer Dawson, Christine Richardson Wig/Makeup Supervisor . .Charles LapointeWig/Makeup Assistants . . . . . Sarah Opstead
Emily Rosenmeier, Ashley Ryan
SceneryProduction Administrator . . Holly CarpenterTechnical Director . . . . . . . . . . . Mike McQuistonAsst. Technical Director/
Lighting Coordinator .Marc D. JohnsonSound Consultant . . . . . . . . . . .Andrew MayerProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongProduction Carpenter . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . Eric Veldey
AdministrationFinance Director . . . . . . . . . . Je∂ CoutureOperations/Systems
Manager . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . Jennifer ThillExecutive Assistant . . . . . Theresa MurrayReceptionist/Finance Assistant . .Jill Pawelak
DevelopmentDevelopment Director . . .Patrick DewaneIndividual Gifts Director . . . . .Dawn LovenInstitutional Gifts Director . . Linda JohnsonInstitutional Gifts Associate/
Gala Coordinator . . . . . . .Kelly ClassenIndividual Gifts Associate . . . . . . . . . . .
Megan StevensonDevelopment Director Assistant . . . . . .
Kelly Clemens
Marketing/CommunicationsMarketing Director . . . . . . . . . . .Carl LeeCommunications Director . . . Lani WillisTicket O∑ce Manager . . . . Andrea CorichMarketing & Communications Assistant/
Volunteer Coordinator . . . . .Reid TuengeTicket O∑ce Assistant . . . .Carol Corich
Minnesota Opera VolunteersThe following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.
Harry Swepston
(Volunteer Chair)
Ann Albertson
Gerald Benson
Colleen Boyer
Jim Brownback*Sue Brownback
Jerry Cassidy
Joann Cierniak
Tricia Clarke
Susan Cogger
Caroline
Coopersmith
Lindsay Craig
Beverly Dailey*Jeanette Daun
Lee Drawert
Judith Duncan
Sally Economon
Hazel Francois
Jane Fuller
Joan Gacki*Christine A. Garner*Juhi Gupta-Gulati
Mark Gustin
Mary E. Hagen
Lucinda Hallet
Merle J. Hanson
John Harris*
Anne Hesselroth
Alisandra Johnson
Karen Johnson
Nancy Johnson
Steve Johnson
Jeannie Johnston
Robin Keck
Eleanore Kolar
Lucinda Lamont
Shirley Larson
Jerry Lillquist
Joyce Lillquist
Abby Marier
Margery Martin
Joan Masuck
Mary McDiarmid*
Beth McGuire
Verne Melberg
Irma Monson
Barbara Moore
Doug Myhra
Pam Nielsen
Dan Panshin
Pat Panshin
Liliana Payne
Megan Pelka
Sydney Phillips
Bill Phillips
Julia Porter
John Rosse
Florence Ruhland
John Sauer
Michael Silhavy
Wendy Silhavy
Angie Solomon
Wendi Sott
Dawn Stafki
Dave Terwilliger
Doris Unger
Carolyn Wahtera
Mary Weitz
Barbara Willis*
*Lead volunteer
Welcome to the Twin Cities premiere of
Nixon in China.The Minnesota Opera is proud to con-
clude this season with this powerful and
entertaining work, particularly in this
first new staging since its 1987 pre-
miere. This is a coproduction with
Opera Theatre of St. Louis, Portland
Opera, Houston Grand Opera, Chicago Opera Theater and
Opera Colorado. It is a thrill to be a part of a movement
reinvigorating this work, and are confident you will enjoy
the bold and dynamic staging by James Robinson and de-
signers Allen Moyer and James Schuette.
The Minnesota Opera has a 42-year history rich with
contemporary work and commissions, and Nixon in Chinais the latest part of that legacy. Next season, we will pro-
duce two American premieres – Petitgirard’s Joseph Mer-
rick, the Elephant Man, which opened to great success in
Prague in 2002; and Mercadante’s thriller, Orazi e Curiazi,a Romeo and Juliet-style love story which is not contem-
porary, but rather a neglected bel canto opera like this sea-
son’s Maria Padilla. And of course, next season wouldn’t
be complete without a familiar favorite or two, and our
picks are Puccini’s Tosca and Mozart’s Don Giovanni. Sub-
scriptions are the still best way to guarantee yourself a
great seat at the opera, and they are on sale now (see p. 8).
We hope you enjoy this performance and that we will
see you next season at the opera!
Kevin Smith
President & CEO
Welcome to the final performances of the 2004-2005 sea-
son. We are pleased that you are here to enjoy one of the
most important works of the 20th century.
John Adams broke ground in an unexpected way, drama-
tizing one of the most significant political events of the last
century. But he didn’t do it in a vacuum – the practice of
putting politics on the opera stage was used by Mozart,
Puccini, and especially Verdi.
It’s the way Adams and librettist Alice Goodman created this opera that
makes it special. Instead of the traditional dramatic arc, this opera paints six
vignettes, using the actual historical events as frames and filling them with
vivid character portraits of the Maos, the Nixons, Chou En-lai and Henry
Kissinger. With the exception of the latter, who is almost a caricature; these
are poetic treatments of these larger-than-life personalities. We’re given a
glimpse of the real power of the first ladies, and we hear the leaders’ preoccu-
pation with how they are being viewed worldwide during their well-choreo-
graphed dance with the media.
Adams pioneered a new genre of post-modern musical theater with Nixon inChina that resulted in “docudramas” for the opera stage such as his later work
The Death of Klinghoffer, Malcolm X by Anthony Davis, Harvey Milk by Stewart
Wallace and Michael Korie, and Adams’s own upcoming Dr. Atomic (which is
about Robert Oppenheimer).
Some opera buffs are resistance to modern music, especially when words like
“minimalist” are used to describe it. Maestro Walker has some insights into
the score on page 14. Adams is a consummate opera composer who writes not
only for characters, but for voices, and in Nixon in China sets Goodman’s po-
etry with grace and clarity. My advice is to sit back, listen and simply let the
music in. Enjoy the show.
Dale Johnson
Artistic Director
Board of DirectorsOfficersJohn A. Blanchard,
III, ChairRolf Engh
Vice ChairLynne E. Looney
SecretaryThomas J. Foley
TreasurerKevin Smith,
President & CEO
Directors EmeritusBurt Cohen
Julia W. Dayton
Mary W. Vaughan
Legal CounselJames A. Rubenstein,
Moss & Barnett
Honorary DirectorsDominick Argento
Philip Brunelle
Elizabeth Close
Dolly Fiterman
Charles C. Fullner
Norton M. Hintz
Donald W. Judkins
Liz Kochiras
Jevne Pennock
Patricia H. Sheppard
DirectorsKaren Bachman
Susan S. Boren
Nicky B. Carpenter
Richard P. Carroll
Jane M. Confer
Susan J. Crockett
Sara Donaldson
Brad F. England
John G. Forsythe
Steve Fox
Sharon Hawkins
Karen Himle
Ruth S. Huss
Heinz F. Hutter
Paula R. Johnson
Lucy Rosenberry
Jones
Michael F. Kelly, Jr.
Elizabeth “Becky”
Malkerson
Thomas R.
McBurney
Brian E. Palmer
Jose Peris
Steve Rothschild
Stephanie Simon
Catie Tobin
H. Bernt von Ohlen
7•
ni
xo
n
in
c
hi
na
Notes from the Leadership
from the Artistic Director
from the President
Serious journeys require serious guides.Successful journeys don’t just happen.
They require discipline. They require
expert guidance. Often they require years
of both. The same is true for investing.
The financial guides at Piper Jaffray have
the expertise and experience to direct your
investment strategy. Let us help you fulfill
the bright promise of your financial future.
Since 1895. Member SIPC and NYSE. PC 5/04-1517 piperjaffray.comPIPER JAFFRAY CONTRIBUTES 5% OF PRE-TAX EARNINGS TO OUR COMMUNITIES THROUGH DIRECT CONTRIBUTION, IN-KIND SERVICES AND VOLUNTEERISM.
Piper Jaffray is proud to supportthe arts in our community.
the premiere.
Bloomington952 921-7900
Edina952 848-8040
Minneapolis612 303-5800
St. Paul651 298-1616
Stillwater651 439-7000
Wayzata952 476-3939
The dreamthe rehearsalsthe scriptthe rehearsalsthe directionthe rehearsalsthe encouragementthe rehearsalsthe trust the rehearsals
AT&T Foundation is the national corporate sponsor of Nixon in China.This production received funding from OPERA America’s opera fund.The opera fund, launched by The National Endowment for the Arts, is
funded by the Helen F. Whitaker Fund, The Andrew W. MellonFoundation, The Canada Council for the Arts, The William and
Flora Hewlett Foundation, The James S. and John L. KnightFoundation, The George Cedric Metcalf Charitable Foundation,
and Lee Day Gillespie. Nixon in China is also sponsored by a grantfrom the City of St. Paul Cultural STAR Program.
Nixon in China is co-produced in association with Opera Theatre of SaintLouis, The Minnesota Opera, Portland Opera, Houston Grand Opera,
Chicago Opera Theater and Opera Colorado.
The Minnesota Opera would like to recognize Paul Vershbow, associatevideo Designer/programmer, David Bieding, motion graphics, and Susan
Hormuth, image research, for their work on this prodution. Video excerpts courtesyof the following: nbc News Archives; National Palace Museum, Taipei, Taiwan,
Republic of China; © 2004 Andy Warhol Foundation for the Visual Arts/ars, NewYork; American Gothic by Grand Wood, Friends of the American Art Colletion, all
rights reserved by The Art Institute of Chicago and vaga, New York, ny.
By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner.
The appearances of Angela Fout and Simon O’Neill, national finalists, and AnnaJablonski and Helen Todd, regional finalists of the Metropolitan Opera National
Council Auditions, are made possible through a Minnesota Opera EndowmentFund established for Artist Enhancement by Barbara White Bemis.
Performances of Nixon in China are being taped for delayed broadcast on MinnesotaPublic Radio, ksjn 99.5 in the Twin Cities.
A note on amplification in Nixon in China: John Adams specifically scored Nixon in China for amplified voices and amplified instrumentation.
The Minnesota Opera season is sponsored by U.S. Bank, Private Client Group.
Rogers & Hollands is the O∑cial Jeweler of The Minnesota Opera.
Intermission receptions sponsored by Lowry HillPrivate Wealth Management.
Opera Insights is sponsored by Thrivent Financial forLutherans.
The appearances of the 2004–2005 season conductorsare underwritten by SpencerStuart.
The 2004–2005 Camerata Circle Dinners aresponsored by Rider Bennett.
th
e m
inn
es
ot
a o
pe
ra
•10
A s we recently bid farewell to a former
president, America’s focus was decidedly
on Ronald Reagan’s accomplishments rather
than his shortcomings. Much of the same
can be said of Richard Nixon (who, dying in
1994, skipped the state funeral because he
never felt welcome in Washington) when
one recalls his diplomatic coup, the first
visit of a sitting American president to the
People’s Republic of China. The event was of
such significance as to warrant the writing
of an opera 15 years later by one of this
country’s leading composers.
Conductor . . . . . . . . . . . . . . . . . . . . .Antony WalkerStage Director . . . . . . . . . . . . . . . . .James RobinsonChoreographer . . . . . . . . . . . . . . . . . . . .Seán CurranSet Designer . . . . . . . . . . . . . . . . . . . . . .Allen MoyerCostume Designer . . . . . . . . . . . . . . .James SchuetteLighting Designer . . . . . . . . . . . . . . . . .Paul PalazzoVideo Designer . . . . . . . . . . . .Wendall K. HarringtonWigs and Makeup . . . . . . .Tom Watson & AssociatesAssistant Director . . . . . . . . . . . .Kevin Lee NewburyChorusmaster . . . . . . . . . . . . . . . . . . .Bruce StasynaProduction Stage Manager . . . . . . .Alexander Farino
The Cast
Richard Nixon . . . . . . . . . . . . . . . . .Carlos ArchuletaPat Nixon . . . . . . . . . . . . . . . . . . . . . . . .Angela FoutMao Tse-tung . . . . . . . . . . . . . . . . . . . .Simon O’NeillChiang Ch’ing (Madame Mao Tse-tung) . .Helen ToddChou En-lai . . . . . . . . . . . . . . . . . . . .Raymond AyersHenry Kissinger . . . . . . . . . . . . . .Andrew WilkowskeNancy T’ang, First Secretary to Mao . .Anna JablonskiSecond Secretary to Mao . . . . . . . . . .Angela KeetonThird Secretary to Mao . . . . . . . . . . .KrisAnne WeissPrincipal Dancers . . . . .Kimberly Jewart, Sun Ho Kim
Members of the Chinese army, navy, air force, media,Red Women’s Militia, guards, factory workers,
farmers, waiters, people of Peking
Setting: Peking; February 21 – 27, 1972
Music by John AdamsLibretto by Alice Goodman
World premiere at Houston Grand OperaOctober 22, 1987
May 14, 17, 19, 21 and 22, 2005Ordway Center for the Performing Arts
Sung in English with English captions
Background Notes by David Sander
One can appreciate the value of this endeavor when re-
calling how the relationship between the two countries had
deteriorated. After the communist takeover in 1949, the
United States had broken o∂ all contact with mainland
China, instead favoring the Nationalists who had sought
refuge on the nearby island of Taiwan. The Chinese involve-
ment in the Korean War didn’t help the hostile situation,
nor did the regime’s apparent alignment with the ideology
of the Soviet Union during the height of
the Cold War. From the start, Richard
Nixon had been closely involved in anti-
communism, serving on the House Un-
American Activities Committee, which
provided a model for Senator Joseph
McCarthy’s hearings on the same sub-
ject in the early 1950s. For his part,
Nixon managed to flush out at least one former State De-
partment o∑cial, Alger Hiss, who was accused of leaking
information to the Soviets.
By the late ’60s, however, it became apparent China was
just as estranged from Russia. Nixon seemed to have
changed his opinion as well, realizing China was a force
with which to be reckoned. As early as 1967 he made a
passing reference in an article published by Foreign A∂airs:“… we simply cannot a∂ord to leave China forever outside
the family of nations, there to nurture its fantasies, cherish
its hates and threaten its neighbors.” Two years later, just a
week into his presidency, Nixon directed his Assistant for
National Security, Henry Kissinger, to make China a prior-
ity. As there existed no diplomatic relations between the
two countries, subtle attempts were made to court Chinese
emissaries uno∑cially, including a “chance” meeting at a
fashion show hosted at the Yugoslavian embassy in Warsaw.
Another serendipitous opportunity occurred in March
1971, at the World Table Tennis Championship in Nagoya,
Japan. Later dubbed “Ping Pong Diplomacy,” members of
the Chinese team invited their American counterparts for a
visit to their native soil. A reciprocal in-
vitation to America soon followed.
To show a friendly face, Nixon re-
laxed travel restrictions and eliminated
an existing trade embargo. Using Pak-
istan as an intermediary for concealed
communic at i on s , Ch ina fina l ly
confirmed it would welcome a visit
from a high ranking American representative. There was
much to discuss – the recognition of Taiwan as the “o∑cial”
China remained a thorny issue, as well as America’s in-
volvement in the Vietnam War and its overall military
presence in the Asian community. Still, China needed a
counterbalance to the Soviet military stockpile along the
northern border – there had already been several skirmishes
between the two nations. A bond between the world’s most
populous nation and its most powerful one would also serve
the Americans, as the Soviets had been evasive with regard
to arms reduction talks.
All contact had to remain top secret in case the endeavor
would bear no fruit. Rather than using his Secretary of State
“… we simply cannot afford toleave China forever outside the fam-ily of nations, there to nurture itsfantasies, cherish its hates andthreaten its neighbors.”
—Richard Nixon
Continues on page 20
11•
ni
xo
n
in
c
hi
na
Chinese communist leader Chairman Mao Zedong with Richard Nixon (AFP) Chinese communist leader Chairman Mao Zedong with Richard Nixon (AFP)
Production photos by Ken Howard, courtesy of Opera Theatre of St. Louis
Cour
tesy
of G
etty
Imag
es
act iScene one – The airport outside Peking Richard and Pat Nixon
disembark from The Spirit of 76 and are greeted by Premier
Chou En-lai. As introductions are made, Nixon ponders
the magnitude of this momentous event. Henry Kissinger
quietly informs the President that Chairman Mao wishes
to meet with him immediately.
Scene two – Chairman Mao’s study Mao and Nixon exchange
pleasantries as press photographs are taken. Mao brings up
the key issues at stake – Taiwan, Vietnam, Japan – and
compliments Kissinger’s diplomacy. Mao’s strength is phi-
losophy, and Kissinger notes that his teachings (which he
promotes to his students at Harvard) will last a thousand
years. The merits of Marxism, Capitalism and Confucian-
ism are then discussed in Maoist apothegms, echoed by
Chou and the secretaries. As the visit comes to a close, the
Chairman abstractly emphasizes a notion stated earlier,
“Founders come first, then profiteers.”
Scene three – The Great Hall of the People At the state dinner
that evening, Pat and Dick trade some initial observations
with one another. Chou raises a toast to his guests and
Nixon returns the gesture. All celebrate the glowing mu-
tual goodwill between the two countries.
– Intermission –
act iiScene one – Mrs. Nixon views China Accompanied by the
press, Pat Nixon is shown the efficiency of glass factory
workers, then tours the Evergreen People’s Commune,
which boasts of its model swine-rearing factory. On the
other side of luxury, she is escorted to the Summer Palace
and the exquisite Ming Tombs. At the Gate of Longevity
and Goodwill, she extols the prophetic nature of her over-
seas voyage.
Scene two – The Peking Opera Dick and Pat attend the
evening’s entertainment with Premier Chou and Mao’s
wife, Chiang Ch’ing. They observe a politically motivated
ballet orchestrated by Madame Mao, The Red Detachment ofWomen, which represents the oppression of Ching-hua by
her tyrant landlord, Lao Szu. Pat objects to the depiction of
Ching-hua’s brutal treatment, and the Nixons are drawn
into the drama as a result.
As the dance continues, the Red Women’s Militia en-
ters, and Party Representative Hung invites Ching-hua to
join her fellow workers. She is presented with a rifle, and
she and her new comrades perform the Target Practice and
Bayonet Dance. At the home of Lao Szu, serving girls (re-
ally the Red Women’s Militia) are coerced to dance for the
tyrant and his guards. Ching-hua’s anger overcomes her,
and she draws a pistol. At the height of the drama,
Madame Mao intercedes to deliver a stirring patriotic dia-
logue.
– Intermission –
act iiiThe last night in Peking All parties are exhausted, except
Chairman Mao who appears as energetic as his youthful
propaganda poster depicts. He and his wife dance and re-
call the past. Pat and Dick also reminisce, thinking of their
impoverished early days, while Chou considers the merits
of revolution and what still remains to be accomplished.
Synopsist
he
min
ne
so
ta
op
er
a•
12
Nixon Mao Pat Nixon Kissinger Madame Mao Red Militia peasant old woman
Costume designs by James Schuette
13•
ni
xo
n
in
c
hi
na
John Adamsb Worchester, ma, February 15, 1947
One of America’s most admired and
frequently performed composers,
John Adams was born in Worchester,
Massachusetts. After graduating from
Harvard University in 1971, he moved
to California, where he taught and con-
ducted at the San Francisco Conserva-
tory of Music for ten years . His
innovative concerts led to his appoint-
ment first as contemporary music ad-
viser to the San Francisco Symphony
and then as the orchestra’s composer-in-
residence between 1979 and 1985, the
period in which his reputation became
established with the success of such
works as Harmonium and Harmonielehre.Recordings on the New Albion and
ecm labels were followed in 1986 by an
exclusive contract with Nonesuch
Records, an association that continues
today.
In 1985 Adams began a collaboration
with poet Alice Goodman and stage di-
rector Peter Sellars that resulted in two
operas, Nixon in China and The Death ofKlingho∂er, worldwide performances of
which made them among the most per-
formed operas in recent history. A third
stage work, I Was Looking at the Ceilingand then I Saw the Sky, a “song play”
with libretto by the poet June Jordan,
was also staged in more than 50 perfor-
mances in both the United States and
Europe. His most recent stage project,
El Niño, a further collaboration with
Peter Sellars, was premiered in Paris in
December 2000, and further perfor-
mances took place in San Francisco in
January 2001.
Adams’ works have received numer-
ous awards, among them the 1994 Royal
Philharmonic Society Award for his
Chamber Symphony, and the 1995 Grawe-
meyer Award for his Violin Concerto. In 2002 Adams composed On the
Transmigration of Souls for the New
York Philharmonic, a work written in
commemoration of the first anniversary
of the World Trade Center attacks.
This work received the 2003 Pulitzer
Prize for Music.
Adams’ most recent work is My Fa-ther Knew Charles Ives, a musical self-
portrait of the composer’s childhood in
Concord, New Hampshire, where he
played in marching bands with his fa-
ther and first heard live jazz in the
summer dance hall owned by his
grandfather. The work was premiered
in April 2003 by Michael Tilson
Thomas and the San Francisco Sym-
phony.
In April and May 2003, Lincoln
Center presented a festival entitled
“John Adams: An American Master,”
the most extensive fest ival ever
mounted at Lincoln Center devoted to
a living composer.
Among the significant events of the
2003 season has been the unveiling of
a new filmed version of The Death ofKlingho∂er, Adams’ second opera, di-
rected by Penny Woolcock for Channel
Four. The film, shot on location in the
Mediterranean and on board a cruise
liner, breaks new ground in the pre-
sentation of opera on film. The com-
poser conducts the London Symphony
Orchestra in this film, which had its
American premiere at the Sundance
Festival and played at other interna-
tional festivals in Rotterdam, Buenos
Aires, San Francisco and New York.
In September 2003, Adams suc-
ceeded Pierre Boulez as Composer-in-
Residence at Carnegie Hall. Among
his activities there will be the planning
and directing of concerts in the new
600-seat Zankel Hall.
Adams is the subject of two docu-
mentary films, one by Tony Palmer,
entitled Hail Bop! (1998) and a more
recent one by David Je∂cock (2003).
After a successful run of Nixon in Chinaat the English National Opera in
2000, a new film of that opera, di-
rected by Peter Sellars, is to be made in
January 2004.
Future projects include The Dharmaat Big Sur (composed for Los Angeles
Philharmonic and the opening of Dis-
ney Hall in Los Angeles in October
2003); a new opera, working title: Doc-tor Atomic, based on the life of Robert
Oppenheimer, commissioned by the
San Francisco Opera for premiere in
September 2005, and a new orchestral
work for Simon Rattle and the Berlin
Philharmonic, due in early 2006.In celebration of a fifteen-year part-
nership, in 1999 Nonesuch Records re-
leased The John Adams Earbox, a
10-compact disc compilation compris-
ing almost all of the composer’s music
over a 20-year period.
Adams continues to conduct regu-
larly, appearing with the world’s great-
est orchestras, and with programs
combining his own works with com-
posers as diverse as Debussy, Stravinsky
and Ravel to Zappa, Ives, Reich, Glass
and Ellington. In recent seasons he has
conducted the Chicago and San Fran-
cisco Symphonies, the Los Angeles
Philharmonic, the Cleveland, Montreal
and Philadelphia Orchestras, The St.
Paul Chamber Orchestra and New
York Philharmonic. European engage-
ments have included performances
with the Deutsche Kammer-Philhar-
monie, Ensemble Modern, Oslo Phil-
harmonic, Deutsches Symphonie
-Orchester Berlin, Concertgebouw,
Santa Cecilia and London Symphony
Orchestra. He is a regular guest at the
bbc Proms concerts and performed
there with pianist Hélène Grimaud
during their 2003 season. Future ap-
pearances include concerts with the
Seattle Symphony, the bbc Symphony,
the Hessischer Rundfunk and the
Finnish Radio Orchestra.
John Adams
phot
o by
Deb
orah
O’G
rady
reprinted courtesy of www.earbox.com
th
e m
inn
es
ot
a o
pe
ra
•14
Artist Interview: Antony WalkerAn interview by Lauren Rico
Broadcast Host Lauren RicoFor the last 15 years, Lauren Rico has been able to combine her love of music with her passion for
public radio. A longtime student of the French horn, Lauren holds a Master’s degree from George
Mason University. She has worked at numerous radio stations in cities across the country including
Tampa, Washington dc, New York City and Charlotte. Lauren has been on the sta∂ of Classical 24,
Minnesota Public Radio’s national classical music service since 1999. In 2001, she received the Gra-
cie Allen Award for Best National Radio Special from the Association of Women in Radio and Tele-
vision for Instrumental Women: Orchestrating Change, a series on the role of women in American
orchestras. She has served as host and producer of The Minnesota Opera broadcasts since 2001.
15•
ni
xo
n
in
c
hi
na
Director’s NoteBy James Robinson
Minneapolis, Minnesota 1988As a graduate student in Composition
and Theory at the University of Min-
nesota, I was part of an unforgettable
discussion in the composition seminar
that followed the first television broad-
cast of Nixon in China. We were an opin-
ionated and serious lot, usually found
lazily agonizing over the merits of the
twelve-tone system versus Neo-Roman-
ticism or trying to outdo each other
with clever excuses for skipping perfor-
mances of landmark 20th-century works
or newer compositions that would
doubtless enhance our knowledge and
prospective careers. The day after the
Nixon broadcast, however, was di∂erent:
the conversation was fresh and biting,
fists pounded the table, the air was elec-
tric with opinion and yes, even a few
tears were shed. In short, it was a won-
derfully polarizing event that made me
realize how relevant a new opera can be –
and how quickly it can transform our
view of the world. It was also the day I
realized that a life dedicated to composi-
tion was (mercifully) just not in my fu-
ture, but a life working in opera and
music theater (hopefully) might be.
After class that day, everyone agreed that
the best place for a composer to make
his mark was in the opera house and that
this thing called “minimalism” might
just be where it’s at. One professor, how-
ever, when asked about minimalism
smiled and sang “I hate it, I hate it, I
hate it, I hate it, I hate it, I hate it” all
the way back to his office.
Claremore, Oklahoma 1972As a 10-year-old child in front of a
large walnut-grain stereo console televi-
sion, I still vividly recall watching (al-
beit with reluctance) as our president,
Richard Nixon, visited China in Febru-
ary 1972. Clearly it was a momentous
occasion for it preempted many of my
favorite programs, and it piqued my cu-
riosity about Richard Nixon and Com-
munism. At that time, I only knew that
Communism was a scary and terrible
thing, and God save you if you turned
into one. I knew even less about our
president. Try as they might, my patient
parents could not quite convey the im-
portance of Nixon’s trip to China, but it
did make me acutely aware that our
smart walnut-grain stereo console tele-
vision had become not just a gathering
place for discussion, meals or sibling
warfare, but a place where a quickly
changing, frightening and exciting
world was increasingly commanding
my attention. Later in front of that same
TV, I shrugged when Nixon resigned
and groaned when the endless Water-
gate trials forced me to actually go out-
side and play with the other kids on the
block.
Brooklyn, New York 2004As a director who has been working
almost exclusively in opera for the past
twelve years, I still recall the day that
Colin Graham called to invite me to
mount a new production of Nixon inChina for Opera Theatre of St. Louis
and the absolute delight I felt at the
prospect. I have taken on many new or
newer works over the years (and con-
tinue to do so), but most of them have
been in the “neglected but interesting”
category or (as was the case with MissHavisham’s Fire) have needed some re-
construction or revision. For me Nixonwas the perfect modern opera: smart,
relevant, fresh and complete. And
Adams’s music, still curiously labeled
“minimalist,” soared with lyrical
beauty and shimmered with dazzling
orchestration. It was also an opera hap-
pily married to a marvelous first pro-
duction by a director whose work I
admire to this day. “How can such a
legendary event be challenged?” I
asked myself. My initial enthusiasm
gave way to despair. But after a lively
discussion with my design colleagues
during which we talked about every-
thing from American politics to Mao’s
poetry to our memories of our families’
televisions, renewed excitement pulled
me from an abyss of insecurity. We
agreed that our shared experiences in
viewing Nixon’s historic trip on televi-
sion, and the perspective we have
gained from the event as it has im-
pacted not just our country but the
world, were shaping our vision of
Adams’s opera. So with this new pro-
duction of Nixon in China, we present a
lyrical fantasy-journey, a collision of
East and West and a theatrical history
basking in the romantic bluish glow of
the television screen.
th
e m
inn
es
ot
a o
pe
ra
•16
The Artists For more biographical information about these artists, visit our website at www.mnopera.org
Raymond AyersChou En-Lai
Minnesota Opera Resident ArtistRecentlyCarmen; Maria Padilla, Madame Butterfly, Minnesota OperaFiddler; Faust; Susannah; Roméo et Juliette, Chautauqua OperaMirandolina; Madame Butterfly; The Seagull,
Manhattan School of MusicBach Cantata No. 80, Princeton Symphony OrchestraApprentice Artist – Académie Internationale d’Eté de Nice
UpcomingMadame Butterfly, Nagasaki SymphonyTosca; Don Giovanni, The Minnesota Opera
Anna JablonskiNancy T’ang
Minnesota Opera Resident ArtistRecentlyCarmen; Maria Padilla; The Magic Flute; Passion; Rigoletto;
The Handmaid’s Tale; La traviata; The Flying Dutchman; The Merry Widow, The Minnesota Opera
Chautauqua Opera Young Artist ProgramSea Pictures (Elgar), The Allegro SinfoniaLe nozze di Figaro, The Astoria Music FestivalIl barbiere di Siviglia, Portland SummerFestLa Cenerentola, Portland State UniversityAlbert Herring; others, Bel Canto nw
Simon O’NeillMao Tse-tung
Minnesota Opera DebutRecentlyLe roi Arthus, BBC Symphony OrchestraOf Mice and Men; The Magic Flute, New York City OperaLa clemenza di Tito, Wolf Trap Opera Company
UpcomingThe Bartered Bride, Royal Opera House – Covent GardenThe Magic Flute, Salzburg FestivalParsifal, New Zealand Symphony OrchestraSusannah, Wexford FestivalLohengrin, Bard Festival (New York)
Angela KeetonSecond Secretary
Minnesota Opera DebutLucrezia Borgia, 2004
RecentlyMadame Butterfly, The Minnesota OperaKiss Me Kate, Brevard Music CenterJeppe; Little Women; Manon; Faust; Bach Mass in B Minor;
Mozart Mass in C Major; Vivaldi Magnificat,Indiana University
Into the Woods, Bloomington Music WorksHandel Messiah, Our Lady of Grace ChurchTeaching Artist – The Minnesota Opera
KrisAnne WeissThird Secretary
Minnesota Opera DebutRecentlyCarmen, Duluth-Superior Symphony OrchestraMadame Butterfly; Così fan tutte, Fargo-Moorhead OperaThe Chocolate Soldier, North Star OperaCold Sassy Tree, Opera OmahaL’italiana in Algeri; Gabriel’s Daughter, Central City OperaLes contes d’Hoffmann; The Dangerous Liaisons;
The Merry Wives of Windsor; Eric Hermannson’s Soul; Die Fledermaus; Dialogues of the Carmelites,University of Minnesota Opera Theatre
Seán CurranChoreographer
Minnesota Opera DebutRecentlyJames Joyce’s The Dead, BroadwayHaroun and the Sea Stories; Turandot; Alcina; L’étoile, NYC OperaMuch Ado; Midsummer Night’s Dream, Shakespeare TheaterMy Life with Albertine, Playwright’s Horizon
UpcomingSeán Curran Company (Artistic Director), The Joyce Theater (New York); College of St. Benedict (Minnesota)The Rivals, Lincoln CenterRoméo et Juliette, Metropolitan Opera
Angela FoutPat Nixon
Minnesota Opera DebutRecently
La traviata; Le nozze di Figaro; Carmen; The Magic Flute, New York City Opera
La bohème; Carmen, Palm Beach OperaThe Turn of the Screw, Aspen Music Festival
Die Fledermaus; Così fan tutte, Annapolis OperaCosì fan tutte, Spoleto USA
Street Scene; Xerxes; Le nozze di Figaro, Wolf Trap Opera
UpcomingDon Giovanni, Austin Lyric Opera; Vancouver Opera
Kimberly JewartPrincipal Dancer
Minnesota Opera DebutRecently
Nixon in China, Opera Theatre of St. LouisTurandot; Haroun and the Sea of Stories,
New York City OperaUn ballo in maschera, Pittsburgh Opera
Artistic Director – Orquidea DanceDancer – hjw/Dimensions; Proving Grounds
Movement; ClancyWorks; labco Dance
Sun Ho KimPrincipal Dancer
Minnesota Opera DebutRecently
Eugene Onegin, Boston Lyric OperaNixon in China, Opera Theatre of St. Louis
Sun Ho Kim and Dancers, CASA ASIA (Barcelona); The Joyce Soho (New York)
Les Troyens, Metropolitan OperaDaphne; Haroun and the Sea of Stories; Turandot, NYC Opera
Director – Boston Dance CollectiveDancer – Prometheus Dance; Boston Pops; Boston,
Frostburg & Harvard Universities; Boston Liturgical Dance
Helen ToddChiang Ch’ing
Minnesota Opera DebutLa traviata, 1997
RecentlyThe Handmaid’s Tale, Canadian Opera Co.; Minnesota OperaLucia di Lammermoor, Opera Illinois; Il turco in Italia, Cleveland
Roméo et Juliette, Sugar Creek Symphony & Song; ShreveportRegina, Baltimore Opera; Barber, Athena Grand Opera
The Magic Flute, Cleveland, New York City, Tulsa OperasLa traviata, Asheville Lyric Opera; Bohème Opera Co.
Rigoletto, Calgary Opera; Annapolis OperaLe nozze di Figaro, Abilene Opera; Connecticut Opera
Of Mice and Men, Arizona Opera; Cleveland Opera
Andrew WilkowskeHenry Kissinger
Minnesota Opera DebutTransatlantic, 1998
RecentlyDon Pasquale, San Francisco Opera Merola Program
Maria Padilla; The Magic Flute; Passion; Lucrezia Borgia;The Merry Widow; La traviata, others, Minnesota OperaGuest Soloist – Minnesota Orch.; St. Paul Chamber Orch.
The Magic Flute, Virginia OperaLa bohème; The Barber of Seville, Lyric Opera of San Antonio
UpcomingPortrait of Manon; Death in Venice, Glimmerglass Opera
Carlos ArchuletaRichard Nixon
Minnesota Opera DebutLucia di Lammermoor, 2001
RecentlyLuisa Fernanda; Il trovatore, Washington Opera
The Magic Flute; others, The Minnesota OperaLa fanciulla del West, Utah Opera
La vida breve, Dallas Opera
UpcomingThe Barber of Seville, Lyric Opera of San Antonio
The Magic Flute, Utah OperaL’elisir d’amore, Washington National Opera
17•
ni
xo
n
in
c
hi
na
The ArtistsFor more biographical information about these artists, visit our website at www.mnopera.org
James SchuetteCostume Designer
Minnesota Opera DebutTransatlantic, 1997
RecentlyRigoletto; Le nozze di Figaro, Opera ColoradoOf Thee I Sing, Papermill PlayhouseTime of Your Life, Seattle Repertory TheaterOedipus Complex, Oregon Shakespeare FestivalGiulio Cesare, Houston Grand OperaCarmen, Seattle Opera
UpcomingAfter the Quake, Steppenwolf
Kevin Lee NewburyAssistant Director
Minnesota Opera DebutRecently
Assistant Director – Opera Theatre of St. Louis; Boston Lyric Opera; Opera Colorado; NY City Opera
Director – Young Playwrights; Ensemble Studio Theatre; American Theatre of Actors; New York City
Fringe Festival; Atlantic Theater School; NYU
UpcomingCandy and Dorothy, Off-Broadway (Director)
Turandot, Santa Fe Opera (Assistant Director)Nixon in China, Portland Opera (Director)
Wendall K. HarringtonVideo Designer
Minnesota Opera DebutTransatlantic, 1997
RecentlyThe Nutcracker, San Francisco Ballet
The Good Body, BroadwayManon Lescaut, Washington Opera
Anna Karenina, Royal Danish BalletA View from the Bridge (Bolcom), Metropolitan Opera
UpcomingDon Quixote, San Francisco Ballet (Paris tour)
The Turn of the Screw, Royal Danish Opera
James RobinsonStage Director
Minnesota Opera DebutTurandot, 1995
RecentlyEugene Onegin, Boston Lyric Opera
Giulio Cesare; Salsipuedes, Houston Grand OperaCarmen, Cincinatti Opera; Così fan tutte, Santa Fe OperaLucia di Lammermoor; La bohème, New York City Opera
UpcomingNorma; The Abduction from the Seraglio, Opera Colorado
Street Scene, Opera Theatre of St. LouisNorma, San Francisco Opera
Allen MoyerSet Designer
Minnesota Opera DebutNorma, 1991
RecentlySalsipuedes, Houston Opera; Reckless; 12 Angry Men, BroadwayAgrippina, Santa Fe Opera; Carmen, Seattle OperaThe Mother of Us All, San Francisco OperaSylvia, Mark Morris with the San Francisco BalletIl trittico; La bohème, New York City Opera
UpcomingThe Constant Wife, BroadwayThe Grapes of Wrath, The Minnesota Opera
Paul PalazzoLighting Designer
Minnesota Opera DebutTosca, 1991
RecentlyLa bohème; Giulio Cesare, Opera ColoradoThe Abduction from the Seraglio, Houston Grand OperaHansel and Gretel, Los Angeles OperaIl trovatore; Barber; Pagliacci/Carmina, Minnesota OperaEugene Onegin; Rigoletto, Boston Lyric OperaBeatrice and Benedict, Manhattan School of MusicCosì fan tutte, Wolf Trap Opera CompanyLa fanciulla del West, Utah Opera
Dr. Stan Hill, Artistic Director
Joann Usher, Executive Director
Thurs.—Sat., June 23–25, 20058 p.m.Ted Mann Concert Hall612.624.2345www.tcgmc.org
PRIDE Week Concert!
th
e m
inn
es
ot
a o
pe
ra
•18
The Artists For more biographical information about these artists, visit our website at www.mnopera.org
(952) 814-9400 (952) 285-1200 (952) 544-6100 (952) 946-9800 (651) 639-3900Mall of America Southdale Center Ridgedale Center Eden Prairie Center Rosedale Center
Over $15.00 will be donated from each purchase of
Judy Ride Collection Jewelry to aid our fight against breast cancer!
Support The Fight!
Bracelet
Necklace
Sterling Silver
& 14Kt. With
Diamond Accent.
The Minnesota Opera holds auditions annually in Min-
neapolis to complete casting for roles and chorus. Other au-
ditions are generally through
management only. Most princi-
pal roles are typically cast well
in advance of the general audi-
tions, and supporting roles are
most often cast locally or from
the Resident Artist Program;
however, nonresident singers
are welcome to audition for fu-
ture season consideration.
Auditions are by appointment only and must be scheduled
in advance. All appointments are on a first-come, first-served
ba s i s . P l e a s e c a l l
612-333-2700 weekdays be-
tween 10:00 a.m. and 4:00 p.m.Audition Requirements: Pre-
pare an operatic aria of your
choice, in the original language.
Bring a current résumé and
photo. Singer must provide own
accompanist. A list of accompa-
nists can be made available
upon request.
Opera Auditions May 24, 25 and 26, 2005
Bruce StasynaChorusmaster
Minnesota Opera DebutDer Rosenkavalier, 2000
RecentlyCarmen; Maria Padilla; others, The Minnesota Opera
Madame Butterfly; La Cenerentola, Des Moines Metro OperaFidelio, Minnesota Orchestra
Die ägyptische Helena, American Symphony OrchestraThe Barber of Seville; Tito; Don Pasquale, Wolf Trap Opera
UpcomingSweeney Todd, Murder and Mayham, The Latest Word, Wolf TrapTosca; Don Giovanni; Orazi e Curiazi, Minnesota Opera
Antony WalkerConductor
Minnesota Opera DebutLe nozze di Figaro, 2000
RecentlyOrlando, New York City OperaIl ritorno d’Ulisse in patria, Pittsburgh Opera TheaterLa donna del lago; Roberto Devereux, Wash. Concert OperaMadame Butterfly; The Handmaid’s Tale; others, Minn. Opera
UpcomingRigoletto, Hawaii Opera Theatre; Dardanus, Pinchgut OperaEsclarmonde; Luisa Miller, Washington Concert OperaJoseph Merrick, The Elephant Man, The Minnesota Opera
The Schubert Club
Subscribe Now • Best Ticket Value in TownSeason Tickets: $150 • $125 • $105 • $85 • $40 (student)
No Price Increases!651-292-3267 • www.schubert.org
Thomas Hampson
2005-2006International Artist Series
Angelika Kirchschlager,mezzo-soprano
& Barbara Bonney,soprano
November 15, 2005
Thomas Hampsonbaritone
January 17, 2006
Leif Ove Andsnespiano
April 27, 2006
Maxim Vengerovviolin
May 24, 2006
Emerson String Quartet
& Leon Fleisher,piano
October 26, 2005
All Concerts are at 8:00 P.M. • The Ordway Center • Saint Paul, Minnesota
th
e m
inn
es
ot
a o
pe
ra
•20
(years later he still feared leaks), Nixon
chose his National Security Advisor for
the cove r t mis s ion. On Ju ly 1 ,
Kissinger began a public tour of Asia,
which included a stop in Pakistan. To
elude the press, he feigned a stomach
ache after a state dinner hosted by
President Yahya Khan and was put up
at the government’s mountain retreat
in order to recuperate. There he was se-
cretly taken to the airport and whisked
across the border for 17 hours of
hushed meetings with Chinese Pre-
mier Chou En-lai.
Upon Kissinger’s return, things ap-
peared to be in place, and Nixon made
a public announcement on July 15 that
shocked the world. Not wanting to
show either side as being too eager or
conciliatory, the language was selected
with care: “Knowing of President
Nixon’s expressed desire to visit the
People’s Republic of China, Premier
Chou En-lai, on behalf of the govern-
ment of the People’s Republic of
China, has extended an invitation to
President Nixon to visit China. Presi-
dent Nixon has accepted the invitation
with pleasure.” The Taiwanese embassy
was understandably upset and the
Japanese were equally unenthused.
Conservatives griped that the president
was bowing to a yoke of world com-
munism and the Soviets were likewise
rattled – four days later they scheduled
the postponed salt talks for May, three
months after Nixon’s proposed visit.
The lasting potential of the journey
was guarded. It was highly unlikely
diplomatic relations would be immedi-
ately resumed – Mao’s communists be-
lieved in one China, which included
the island of Taiwan. As long as there
was a Taiwanese embassy in Washing-
ton, there would be no return visit.
Though the communists had achieved
a small triumph at the United Na-
tions, which had recently voted to oust
Taiwan in favor of Mao’s administra-
tion, the United States had voted
against the resolution. The ultimate
goal of the visit was to issue a world-
wide communiqué detailing both
countries’ positions in Asia – under-
standing (and possibly resolving) those
di∂erences would be the first step to-
ward normalization between China and
the United States. Kissinger began to
negotiate the details with Chou during
a second visit in October, but the exact
language of this document became a
troublesome issue throughout the en-
tire process.
Nixon arrived in Peking on February
21, 1972. It was intended to be an
especially telling gesture for the
President to deplane unescorted (other
than his wife Pat) and immediately
shake the Premier’s hand (Chou had
been very publicly snubbed by then-
Secretary of State John Foster Dulles in
Geneva back in 1954). During the
entire trip, the president’s retinue
o r che s t r a t ed h i s a c t i on s v e ry
purposefully – key moments, such as
the arrival and subsequent state
functions and banquets were prime
t imed for l ive broadcast on the
morning network television and the
evening news. Television was Nixon’s
preferred medium and was quite
successfully employed to enhance the
visibility of his high profile visit,
which came about quite nicely during
an election year. Chinese o∑cials were
initially hesitant to allow any reporters,
but eventually admitted 87 American
journa l i s t s who were c a r e fu l ly
controlled, sent out to cover tourist-
type excursions with Pat and glitzy
pub l i c e v en t s r a the r than any
diplomatic talks. One reporter later
recalled, “To keep us out of mischief,
the Chinese organized bus tours for the
journalists to go to the Great Wall, or
the Ming Tombs … the food was
absolutely sensational, the toasts and
the dancing girls … all that was
terrific. But try to find out what was
really going on, and you were in the
dark (Stanley Karnow).”
Meanwhile Chou and Nixon met for
a series of four-hour private talks (re-
cently declassified and available online
at the National Security Archive), dis-
cussing all of the vital issues at hand –
Taiwan, Vietnam, Korea, Japan – and
briefly, the content of the joint com-
muniqué, which would be ironed out
by Kissinger and his Chinese counter-
1919 Chou En-lai comes to national prominenceduring the May Fourth movement when heled a raid on a local government officeduring the student protests against thehumiliating Versailles Treaty.
1920 Chou moves to France and becomes amember of the French Communist Party;he spends the next few years traveling inEurope, returning to China in 1926.
1923 Mao Tse-tung is elected to the ThirdCongress of the Communist Party ofChina.
1927 Mao barely escapes execution for his rolein the Autumn Harvest Uprising.
1934 The long march begins – Mao and hisCommunist guerrillas move through themountains to evade Nationalist troops;Mao meets Chiang Ch’ing, later tobecome his fourth wife; Chou throws hisentire support behind Mao.
1938 Japan invades China.
1945 World War II comes to a close; theJapanese are repelled; civil war in Chinaensues.
1949 The Communists are victorious andestablish the People’s Republic of Chinawith Chou En-lai as premier, and Mao Tse-tung as chief of state and CommunistParty chairman; the Nationalists, led by
Chiang Kai-Shek, retreat to Taiwan.
1950 The Korean War begins as China and theUnited States fight on opposite sides.
1958 Mao initiates the Great Leap Forward inan attempt to industrialize his nation; it islater deemed a failure.
1964 Nixon declares that the Vietnam conflictis a de facto war between the U.S. andChina: "A United States defeat in Vietnammeans a [Chinese] Communist victory."
1966 Former l y a l l i ed w i th t he Ch inesegovernment, the Soviet Union amassestroops along the Sino-Soviet border; Maoinitiates the Cultural Revolution and
Richard and Pat Nixon at the Great Wall of China
Tim
e &
Life
Pic
ture
s p
hoto
by
John
Dom
inis
Cou
rtesy
of G
etty
Imag
es
part, Deputy Foreign Minister Ch’iao Kuan-hua.
As Nixon remained ever distrustful of the State
Department, William Rogers, Secretary of State
and his close personal friend, was left out of the
inner circle. This action would create di∑culties
in the trip’s final days.
John Adams’s opera begins with Nixon’s ar-
rival, and Alice Goodman’s adaptation of the
visit is an e∂ective recreation of this major event.
One of the highlights of the summit was the
president’s one-hour visit with the ailing Chair-
man Mao shortly after touchdown, during which
the librettist attempts to recreate actual dialogue
from the meeting in scene two. Scene three
nicely captures the essence of Chou and
Nixon’s friendship toasts at the first ban-
quet, and in Act ii, Goodman neatly bowd-
lerizes Pat Nixon’s various outings, also
managing to incorporate a few of her his-
toric diplomatic quips (in particular her
comment at the Gate of Longevity and
Goodwill, which becomes her aria “This is
prophetic”). Counterpoised to moments of
real history are those of fantasy – Kissinger
and the Nixons are drawn into the perfor-
mance of Madame Mao’s Red Detachment of
21•
ni
xo
n
in
c
hi
na
Continues on page 24
Chiang Ch’ing assumes a leading role;China explodes its first hydrogen bomb.
1969 In his inaugural address, President Nixonhints at changes in United States foreignpolicy: “After a period of confrontation,we are entering an era of negotiation;”Nixon’s Secretary of State William Rogersasks Pakistani chief of state Yahya Khanto feel out the Chinese on expanded talkswith the United States.
1970 In a Time magazine interview, PresidentNixon notes, "If there is anything I wantto do before I die, it is to go to China."
1971 A friendly table tennis tournament inJapan leads to a visit of the American
team to China; prev ious ly only 12Americans had been permitted inside itsborders since 1950; the Chinese teamvisits America later that year; in July,Henry Kissinger makes a secret visit toChina to meet with Chou En-lai.
1972 Nixon makes his historic trip in February;in June five men are caught trying to bugthe offices of the Democratic NationalCommittee at the Watergate hotel andoffice complex; Nixon is reelected inNovember.
1973 The Watergate hearings begin in May.
1974 Richard Nixon resigns from office to avoidimpeachment proceedings.
1976 Chou and Mao both die; Chiang Ch’ing isarrested with the rest of her “Gang ofFour,” for atrocities committed during theCultural Revolution.
1979 Formal relations between the UnitedStates and China are established.
1982 An opera based on Nixon’s China trip isconceived by director Peter Sellars.
1987 John Adams’s Nixon in China is premieredin Houston.
1991 Chiang Ch’ing commits suicide in prison.
1994 Richard Nixon dies.
th
e m
inn
es
ot
a o
pe
ra
•22
The Minnesota Opera OrchestraViolin I Kristen Christensen
concertmasterJulia Persitz
David Mickens
Judy Thon-Jones
Andrea Een
Kari Giles
Violin II Laurie Petruconis
Elizabeth Decker
Stephan Orsak
Melinda Marshall
Carolin Kiesel Johnson
Margaret Humphrey
ViolaAnnette Caruthers
Laurel Browne
Jenny Lind Nilsson
Susan Janda
Cello Jim Jacobson
Adriana LaRosa Ransom
Thomas Austin
Sally Dorer
Bass John Michael Smith
Constance Brown
FluteMichele Frisch
(double piccolo)Amy Morris
(double piccolo)
OboeMarilyn Ford Michael Dayton
(double English horn)
ClarinetSandra Powers
(double E-flat clarinet)Nina Olsen
(double bass clarinet)Karrin Me∂ert-Nelson
(double bass clarinet)
Saxophone David Milne
(soprano and alto)Jared Ziegler
(alto)
David Karr
(tenor and alto)Bruce Thornton
(baritone and tenor)
TrumpetJohn G. Koopmann
Christopher Volpe
Craig Hara
Trombone Philip Ostrander
Sue Roberts
David Stevens
PercussionMatthew Barber
Keyboard Korey Barrett
Christopher Zemliauskas
Bruce Stasyna
Personnel Manager Steve Lund
The Minnesota Opera ChorusKaren Bushby
Michael Cain
Jonathan Carle
Theodore Chletsos
Julie Conzemius
Steve Dahlberg
Tracey Gorman
Katherine Haugen
Michelle Hayes
Robin Heggen
Sandra Henderson
Ben Johnson
Mark Josephsen
Seth Keeton
Dale Kruse
Paula Lammers
Elizabeth Longhurst
Mary Monson
Bill Murray
Matthew Neil
Steve Sandberg
Joy Scheib
Bob Schmidt
Bryan Shih
Sandy Schoenecker
Anne Storlie
Eric Vollen
Karin Wolverton
DancersNicholas Duran,
dance captainPenelope Freeh
Kimberly Jewart
Matthew Keefe
Sun Ho Kim
Megan McClellan
SupernumerariesJennifer Dawson
Storrie Havlina-Madsen
David Mehl
Benjamin Westphal
Artists covering principal roles
Jonathan Carle —
Richard Nixon
Theodore Chletsos —
Mao Tse-tung
Seth Keeton —
Henry Kissinger
Karin Wolverton —
Pat Nixon
23•
ni
xo
n
in
c
hi
na
Upcoming EventsAre you a 20- or 30-something who’s curious about opera? Looking forsomething new and fun to look forward to? Join other young professionals forthe hottest ticket in town — The Minnesota Opera’s Young ProfessionalsGroup!
The low-cost YPG membership (only $30 per season) entitles members togreat seats at the Opera for rock-bottom prices, as well as post-opera cocktailparties and special events throughout the season.
Join before the May 21 Opera Night Out for $30 and receive membershipbenefits for Nixon in China AND the 2005 – 2006 season!
Opera Nights Out: Nixon in China, May 21
To join, visit www.mnopera.org or email us [email protected].
Cultivating a new generation of opera-goers in the Twin Cities
Great Waters is theofficial venue for
Opera Nights Out
photo by Barbara Willis
33 SOUTH SIXTH STREET, SUITE 4900 | MINNEAPOLIS, MN 55402612.340.8900 | FAX 612.340.7900 | WWW.RIDERLAW.COM
Whether you need advice on day-to-day business matters, acarefully prepared estate plan, or a seasoned team to handle litigation, you can count on Rider Bennett’s knowledge,experience, and expertise.
Our Focus is On you
Speak to
the people
beside you
without
saying a word
Call 612.375.9222
Arts & Custom Publishing Co., Inc.
1001 Twelve Oaks Ctr Dr.,, Wayzata, MN 55305
th
e m
inn
es
ot
a o
pe
ra
•24
Women, which is punctuated by an outburst by the Chair-
man’s prickly fourth wife (another opportunity for an aria),
of whom Nixon described as “unpleasantly abrasive and ag-
gressive.” An ideological extremist, she had not been in
favor of Nixon coming to China.
Madame Mao returns for the opera’s final scene in an-
other wonderful concoction, as she and her husband recall
younger days and the summer of their romance. The ex-
hausted Nixons are equally nostalgic, while the aging Chou
ponders the outcome of revolution and the magnitude of
what is left undone. There is an eerie sense of irresolution as
Adams’s lyrically minimalist, artfully orchestrated score
reaches its conclusion.
Nixon’s China trip similarly had a bittersweet ending.
The tactfully crafted 1,500 word communiqué, its initial
drafts so diametrically opposed, yet eventually hammered
out to the satisfaction of both sides, won the approval of
China’s Politburo, but had to go through some eleventh
hour editing after the State Department sta∂ finally had a
look at it – Taiwan had been excluded from the section de-
voted to mutual defense treaties. As the message repre-
sented the ultimate success of the mission, Chou broke
protocol, dropping in on Secretary Rogers unannounced in
order to smooth over the rough spots. The final version in-
cluded some cunningly tactful, vaguely opposed statements:
There are essential differences between China andthe United States in their social systems and foreign
policies. However, the two sides agreed that countries,regardless of their social systems, should conducttheir relations on the principles of respect for the sov-ereignty and territorial integrity of all states, nonag-gression against other states, noninterference in theinternal affairs of other states, equality and mutualbenefit, and peaceful coexistence … The UnitedStates acknowledges that all Chinese on either side ofthe Taiwan Strait maintain there is but one China andthat Taiwan is a province of China. The United Statesdoes not challenge that position. It reaffirms its inter-est in a peaceful settlement of the Taiwan question bythe Chinese themselves. With this prospect in mind, itaffirms the ultimate objective of the withdrawal of allU.S. forces and military installations from Taiwan.
The resolution was greeted with some hostility, and opin-
ion of the trip’s cumulative success was sharply divided –
many felt the United States had conceded too much. Re-
gardless, Nixon would only enjoy this personal triumph for
a short while. In June, reports of a robbery in the o∑ces of
the Democratic National Committee, situated in the Wa-
tergate hotel and o∑ce complex, would lead to the presi-
dent’s political downfall. Diplomatic relations with the
People’s Republic of China finally would be in place during
the Carter administration, and with the passing of the gov-
ernment’s old guard, Taiwan has managed to maintain its
tenuous existence to this day.
Background Notes continued from page 21
-
t
t
D
25•
ni
xo
n
in
c
hi
na
th
e m
inn
es
ot
a o
pe
ra
•26
The Minnesota Opera Annual FundIndividual Giving
Gold $5,000-$9,999Anonymous (1)Eric and Tracy AanensonJane M. and Ogden W. ConferSusan and Richard CrockettDavid and Vanessa DaytonSally J. EconomonRolf and Nancy EnghMr. and Mrs. John ForsytheConnie Fladeland and
Steve FoxN. Bud and Beverly Grossman
FoundationAlfred and Ingrid
Lenz HarrisonSharon and Bill HawkinsKaren and John HimleConstance and Daniel KuninIlo and Margaret LeppikMs. Becky MalkersonTed and Roberta Mann
FoundationMary Bigelow McMillanDiana and Joe MurphyElizabeth Musser Trust—
Fir Tree FundAlbin and Susan NelsonNelson Family FoundationTimothy and Gayle Ober
Brian and Julia PalmerMr. and Mrs. Steven
RothschildKevin and Lynn SmithVirginia L. and
Edward C. StringerGregory C. SwinehartCatie Tobin and Brian NaasCharles Allen Ward Fund of
The Saint Paul FoundationEllen and Fred Wells
Silver $2,500-$4,999Anonymous (2)Chloe D. AckmanMartha and Bruce AtwaterDr. Ford and Amy BellDavid Hanson and William BiermaierAlexandra O. BjorklundRachelle Dockman ChaseCleveland FoundationDr. James E. and
Gisela CorbettJohn and Arlene DaytonMary Lee DaytonThomas and
Mary Lou DetwilerKate Ellis and John HarrerChip and Vicki Emery
Rondi Erickson and Sandy Lewis
Tom and Lori FoleyLeslie and Alain FreconMr. and Mrs. R. James GesellMr. Denver GilliandMeg and Wayne GisslenBill and Eleanor GoodallThe Hackensack Fund of the Saint
Paul FoundationDorothy J. Horns, M.D., and
James P. RichardsonJay and Cynthia IhlenfeldDale A. JohnsonJacqueline Nolte JonesRobert and Susan JosselsonStan and Jeanne KaginSamuel L. Kaplan and
Sylvia Chessen KaplanErwin and Miriam KelenMichael F. and Gretchen G. Kelly and
the Kelly Family FoundationMrs. James S. KochirasSid and Diane L. LevinDavid MacMillan and
Judy KrowMary K. Mahley
Family FoundationRoy and Dorothy Ann Mayeske
James and Judith MellingerRichard and Nancy Nicholson –
Nicholson Family FoundationDwight D. OppermanWilliam and Barbara PearceMarge and Dwight PetersonJames J. Phelps and
Nancy McGlynn PhelpsMr. and Mrs. William PhillipsPaul and Mary ReyeltsLois and John RogersKen and Nina RothchildE. Elaine and Roger SampsonKay Savik and Joe TashjianFred and Gloria SewellDrs. Joseph and
Kristina Sha∂erFrank and Lynda SharbroughMr. and Mrs. James SwartzTanrydoon Fund of The Saint Paul
FoundationWilliam Voedisch and
Laurie CarlsonBernt von Ohlen and
Thomas NicholNancy and Ted Weyerhaeuser
Camerata Circle
Bel Canto Circle$10,000 and aboveAnonymous (2)Karen BachmanRebecca Rand and
E. Thomas BingerMary and Gus BlanchardRod and Susan BorenMrs. Thomas B. CarpenterDarlene J. and
Richard P. CarrollRusty and Burt CohenEllie and Tom Crosby, Jr.
Julia W. DaytonCy and Paula Decosse Fund of
The Minneapolis Foundation The Denny Fund of
The Minneapolis FoundationSara and Jock DonaldsonBrad and Diane EnglandDolly J. FitermanJohn and Ruth HussHeinz and Sisi HutterBryce and Paula JohnsonLucy Rosenberry Jones
The Art and Martha Kaemmer Fund ofHRK Foundation
Warren and Patricia KellyPeter J. KingLynne LooneyPatricia LundThomas and Barbara McBurneyHarvey T. McLainMrs. Walter MeyersEstate of Edith J. MuellerBruce and Sandy NelsonMrs. George T. Pennock
Jose Peris and Diana GuldenElizabeth and Andrew RedleafConnie and Lew RemeleStephanie Simon and
Craig BentdahlRobert and Barbara StruykMary W. Vaughan Fund of
The Minneapolis FoundationC. Angus and Margaret Wurtele
$1,000-$2,499Anonymous (4)Paula AndersonKim A. AndersonLowell Anderson and Kathy Welte Jamie Andrews and
Jane Kolp-AndrewsJohn Andrus, IIICheryl Appledorn and
Thomas SchnettlerMartha Goldberg Aronson and
Daniel AronsonMr. and Mrs. Edmund P. BabcockDr. Thomas and Ann BagnoliPatricia and Mark BauerSue A. BennettJohn and Jennifer Bernstein
Mr. and Mrs. Paul G. BoeningJan and Ellen BreyerJudith and Arnold BrierConley Brooks FamilyElwood F. and Florence A. CaldwellBruce and Deanna CarlsonJoan and George CarlsonJoe and Judy CarlsonBruce Coppock and Lucia MayDr. Stephen and Beth CragleMrs. Thomas M. Crosby, Sr.Ruth and Bruce DaytonAmos and Sue DeinardMona Bergman Dewane and
Patrick Dewane Mrs. Sia DimitriouMr. and Mrs. Carl B. Drake, Jr.
Ekdahl Hutchinson Family Fund ofThe Minneapolis Foundation
Susan Engel and Arthur EisenbergEster and John FeslerHenry and Anice FleshSalvatore S. FrancoPatricia R. FreeburgBradley A. Fuller and
Elizabeth LincolnDavid and Kathy GalliganChristine and W. Michael GarnerLois and Larry GibsonHoward and Heidi GilbertPaul and Margot GrangaardMrs. Myrtle GretteRosalie He∂elfinger Hall Fund of
The Minneapolis Foundation
Marthajane HapkeDon HelgesonJohn S. and Rosmarie HellingNancy and Doug HeltneCli∂ton K. Hill and Jody RockwellBill and Hella Mears HuegMr. and Mrs. Thomas HullMr. and Mrs. Philip IsaacsonMr. and Mrs. James L. JelinekCharlotte and Markle KarlenJessie L. KellyLyndel and Blaine KingE. Robert and Margaret V. Kinney
Fund of The Minneapolis FoundationKenneth Kixmoeller and Kim OtnessMr. and Mrs. William KlingLisa C. Kochiras
Artist Circle
It is with deep appreciation that The Minnesota Opera recognizes and thanks all of the individual donors whose annual
support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose
leadership support provides the financial foundation which makes the Opera’s artistic excellence possible.
For information on making a contribution to The Minnesota Opera, please call Dawn Loven, Director of Individual Gifts, at 612-342-9567.
27•
ni
xo
n
in
c
hi
na
The Minnesota Opera Annual FundIndividual Giving
These lists are current as of March 1, 2005, and include donors who gave gifts of $500 or more to The Minnesota Opera Fund since January 1, 2004. If your name is not listed appropriately, please accept our apologies, and call Megan Stevenson, Individual Gifts Associate at 612-342-9569.
Anonymous (2)Mary A. AndresMr. and Mrs. Rolf AndreassenKaren BachmanMark and Pat BauerBarbara and Sandy Bemis (†)Dr. and Mrs. Richard CarrollJudy and Kenneth (†) DaytonMrs. George DotyRudolph Driscoll (†)
Sally EconomonPaul FroeschlRobert and Ellen GreenIeva Grundmanis (†)Charles HudginsDale and Pat JohnsonRobert and Susan JosselsonDr. and Mrs. Markle KarlenSteve KellerBlaine and Lyndel King
Gretchen Klein (†)Bill and Sally KlingMr. and Mrs. James KrezowskiRobert Kriel and Linda KrachRobert Lawser, Jr.Gerald and Joyce LillquistMargaret L. and Walter S. (†) MeyersEdith Mueller (†)Scott PakudiatisSydney and William Phillips
Mary SavinaFrank and Lynda SharbroughAndrew H. Stewart, Jr.Barbara and Robert StruykStephanie Van D’EldenMary VaughanDale and Sandra Wick
$500-$999Fred Amram and Sandra BrickFloyd AndersonQuentin and Mary AndersonWoodbury H. and Cynthia AndrewsGenevive AntonelloRuth and Dale BachmanJames and Gail BakkomMrs. Harvey O. BeekThomas and Joyce BrucknerC.D.F. FoundationDaniel and Christine BussJoann M. D. CierniakBill and Kate CullenJoe Dowling and Siobahn ClearyRuth D. DrakeJohn G. DrozdalAndrew and Lucia Du∂Joyce and Hugh EdmondsonHerbert and Betty Fantle
William T FogartyIris C Freeman and Warren WoessnerTerence Fruth and Mary McEvoy Family
Fund of The Minneapolis FoundationDr. Stanley M. and Luella G.GoldbergDeanne and John GrecoSarah GreenMarjorie and Joseph GrinnellBruce and Jean GrussingRuth E. HanoldDrs. Greg and Angie HatfieldMrs. Dorothy HillJoe and Nancy HolmbergJohn and Jean McGough HoltenElizabeth A. HueyDiane and Paul JacobsonAndrzej and Urszula JaworskiDr. and Mrs. Charles R. JorgensenJane and Jim Kaufman Fund of
The Minneapolis FoundationMichael W. Kienlen
Steve and Jolie KlapmeierRoy and Mary LetourneauJoan E. MaddenC. S. McCrossanSheila McNallyL. David MechSheila and Paul MeginnisWilliam MesserliJames Meunier and Debra K. BrooksCharles and Victoria MogilevskyTheresa A Murray and Jim MurrayPaul C. MuzioJoan and Richard NewmarkLowell and Sonja NoteboomLuis Pagan-CarloPaula PatineauKern and Kathryn PetersonLawrence M. RedmondThomas D. Rohde and
Nancy J. RohdeJames and Andrea Rubenstein
Jim ScarpettaMahlon and Karen SchneiderBill and Althea SellThe Harriet and Edson Spencer Fund
of The Minneapolis FoundationJohn SpokesKeith and Catherine StevensonDaniel Stolfa and Swenson
Financial Advisory GroupWarren StortroenDana and Stephen StrandEmily Anne and Gedney TuttleAllan Valgemae and Robert HardingWill and Li VolkDavid M. and Mary Ann
Barrows WarkJames and Sharon WeinelFrank and Frances WilkinsonLani Willis and Joel Spoonheim
Patron Circle
The Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in
their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If you
have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity.
For more information on possible gift arrangements, please contact Dawn Loven, Director of Individual Gifts, at
612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you.
Estate and Planned Gifts
Maria KochirasRobert L. Kriel and Linda E. KrachHelen L. KuehnAnita KuninMark and Elaine LanderganBarry Lazarus and Mary DearingRobert L. Lee and Mary E. Scha∂nerCarl Lee and Linda Talcott LeeClinton and Judith LeeSusan LentheStefanie Lenway and Tom Murtha Michael and Diane LevyJerry and Joyce LillquistMr. and Mrs. B. John Lindahl, Jr.
Benjamin Y. H. and Helen C. LiuBill LongDawn M. LovenMr. and Mrs. Donald LuckerMargery MartinSamuel D. and Patricia McCulloughDrs. Mary and Joseph MelandMr. and Mrs. Edward L. MillsThe Honorable and Mrs. Walter MondaleSandy and Bob MorrisMrs. John H. MyersSusan OkieKelly and Michael PalmerAllegra Parker
Karen B. PaulWilliam and Suzanne PayneJodi and Todd PetersonMary Ingebrand PohladJames and Connie PriesRobert and Mary PriceTim and Elin RaymondFrances and George ReidKit Reynolds and Mike SchwimmerJohn and Sandra RoeMrs. John C. RowlandLeland T. Lynch and Terry Saario Fund
of The Minneapolis FoundationPatty and Barney Saunders
Dr. and Mrs. Richard J. SchindlerStanislaw and Krystyna SkrowaczewskiJe∂ and Helene SlocumJulie Jackley SteinerDon and Leslie StilesJames and Susan SullivanHenry and Virginia SweattMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonMr. and Mrs. Philip Von BlonMs. Wendy Wenger
Artist Circle (continued)
th
e m
inn
es
ot
a o
pe
ra
•28
Corporations and Foundations
Minnesota Opera Sponsors
Bel Canto $10,000+3MAllianz Life Insurance of North AmericaAmerican Express Minnesota Philanthropic
ProgramAndersen FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationThe Bush FoundationCargill FoundationDeloitteDeluxe Corporation FoundationDorsey & Whitney FoundationEcolab FoundationGeneral Mills FoundationLowry Hill Private Wealth ManagementThe MAHADH Fund of HRK FoundationThe McKnight FoundationThe Medtronic FoundationOPERA America’s Opera FundPentair, Inc.Piper Ja∂rayRider Bennett Rogers & Hollands JewelersSpencerStuartSt. Paul TravelersSUPERVALU Stores, Inc.Target FoundationThrivent U.S. Bancorp FoundationU.S. Bank, Private Client GroupValspar FoundationWells Fargo Foundation MinnesotaWenger Foundation
Gold $5,000-$9,999Alice M. O’Brien FoundationAT&T FoundationBemis Company FoundationBriggs and MorganFaegre & BensonGerman-American Heritage FoundationJostens, Inc.Lindquist & VennumOnan CorporationR. C. Lilly FoundationRahr Foundation
RBC Dain Rauscher FoundationTwin Cities Opera GuildU. S. Trust Company Xcel Energy Foundation
Silver $2,500-$4,999Arts & Custom Publishing Co., Inc.Beim FoundationBoss FoundationBuuck Family FoundationDellwood FoundationHutter Family FoundationMargaret Rivers FundMary Livingston Griggs and Mary Griggs Burke
FoundationPeregrine Capital ManagementSchwegman, Lundberg, Woessner & Kluth, PATennant FoundationTozer FoundationWest Group
Artist Circle $1,000-$2,499Alliance Capital ManagementBrock-White Co., LLCThe Burdick-Craddick Family FoundationCharles B. Sweatt FoundationCurtis L. Carlson Family FoundationDigital Excellence, Inc.GREC, LLCGunkelmans Interior DesignHammel, Green and Abrahamson, Inc.Hogan & HartsonHorton, Inc.The C. A. Jackley FoundationLawrence M. and Elizabeth Ann O’Shaughnessy
Charitable Income TrustLe Jeune Investment, Inc.Leonard, Street & DeinardMaslon, Edelman, Borman & BrandMayo ClinicMcVay FoundationThe Elizabeth C. Quinlan FoundationRobins, Kaplan, Miller & CiresiSecurian FoundationThe Southways FoundationSt. Croix Foundation
Season SponsorU.S. Bank, Private Client Group
Production SponsorsMadame Butterfly, U.S. Bank, Private Client GroupMaria Padilla, National Endowment for the ArtsCarmen, American Express Minnesota
Philanthropic ProgramNixon in China, AT&T Foundation, OPERA
America’s Opera Fund, City of St. Paul’s CulturalSTAR Program
Production Innovation SystemGeneral Mills
Opening Night Gala SponsorU.S. Bank, Private Client Group
RAP Teaching ArtistsWenger Foundation
Camerata DinnersRider Bennett
Conductor AppearancesSpencerStuart
Evening Intermission SponsorLowry Hill Private Wealth Management
Promotional SupportMinnesota Monthly
Official Jeweler of The Minnesota OperaRogers & Hollands Jewelers
Opera InsightsThrivent Financial for Lutherans
$10,000 – $24,999
$25,000 – $49,000
$50,000 – $99,000
$100,000 +
The Minnesota Opera gratefully acknowledges
its major corporate supporters:
The Minnesota Opera Annual FundInstitutional Giving
GovernmentCity of Saint Paul’s Cultural STAR ProgramMinnesota State Arts Board
National Endowment for the Arts
29•
ni
xo
n
in
c
hi
na
Good listening {TAKES PRACTICE.}
Nancy Meeden651.282-9650
Amy Sperling651.282-9615
Crocus Hill Office
www.spencerstuart.com
spencer stuartis proud to support The Minnesota Opera
we are pleased to present guest conductor
maestro antony walker in the minnesota
opera’s production of nixon in china.
Make the Most of Your Gift!
When you make your annual
contribution, remember that
your employer may match
your charitable gift. Many
corporations have gift pro-
grams that will even match
contributions made by re-
tirees, spouses and former di-
rectors. Matching your gift is
easy. Contact your human re-
sources department for the
proper matching gift form
and send it along with your
contribution. For more infor-
mation on matching gifts,
p l e a s e c o n t a c t M e g a n
Stevenson at 612-342-9569.
NEW in 2005 We are Going Quarterly and
Adding Home Delivery!
Summer 200560,000 circulation
• home-delivered to 25,000 single-family homes — 45% area coverage
• 25,000 included in the Lakeshore WeeklyNews.
• 10,000 additional copies available at pick-uplocations and chambers of commerce.
Call Today to Advertise!
952.473.0890 or 612.375.9222Discover the Lake Minnetonka Area is a publication of
Arts & Custom Publishing Co., Inc. and Lakeshore Weekly News
A R E A
th
e m
inn
es
ot
a o
pe
ra
•30
Fri. May 6, 2005, 8pm
Sat. May 7, 2005, 8pm
The Saint Paul Chamber Orchestra
presents The Lark Ascending
Miguel Harth-Bedoya, conductor
Joe Lovano, saxophone
Ruggero Allifranchini, violin
May 14, 17, 19, 21, & 22, 2005
The Minnesota Opera presents
Nixon in China by John Adams
Highlighting the clash of Eastern
and Western rituals, John Adams'
Grammy-winning opera electrified
audiences at its premiere and has
been sparking debate every since.
$30 - $95
Fri. May 27, 2005, 10:30am & 8pm
Sat. May 28, 2005, 8pm
The Saint Paul Chamber Orchestra
presents Concertmaster's Collection
Steven Copes, director, violin
Stephen Prutsman, composer/piano
Gary Bordner, trumpet
Sat. & Sun. June 4 -5, 2005
Ordway Center Presents
2005 Flint Hills
International Children's Festival
The much anticipated annual Festival
highlights the best performing artists
for children from around the world.
Plus, the FREE World Party in Rice Park.
June 28 - July 10, 2005
Ordway Center presents
Peter Pan
(Performance times vary)
Audience favorite Cathy Rigby's
farewell performance!
Main Hall $38 - $60
Aug. 16 - Aug. 28, 2005
Ordway Center presents
Dr. Dolittle: The Musical
(Performance times vary)
An American premiere of this
fanciful tale that captivates children
and adults alike!
Main Hall $38 - $60
ORDWAY CENTER651-224-4222 ordway.org
THE MINNESOTA OPERA651-224-4222 mnopera.org
THE SAINT PAUL CHAMBER ORCHESTRA651-291-1144 thespco.org
MINNESOTA ORCHESTRA612-371-5656 minnesotaorchestra.org
THE SCHUBERT CLUB651-224-4222 schubert.org
On stage atOrdway Center
LOVES HEARING HIS 12-INCH SUBWOOFER AND
“TURN DOWN THAT !#@&*%# BEETHOVEN!”
Minnesota Public Radio is my sourcefor loud classical music. I’ve got a
12-inch subwoofer in my trunk that gives meincredible bass. It sounds like I’ve got timpani
and string basses and cannons in there. It’s justawesome! It’s the only way to listen to classical
music. I’m Zach Peterson from Vesta. And I’m oneof 83,000 members of Minnesota Public Radio.
91.1 news 99.5 classical
Hubler
Building bridges to successful family businessrelationships.
Family Business Consultants
612-375-0640Callwww.hublerfamilybusiness.com
H
Schmitt’s offers you help in your search for the perfect piano!
Call, email or stop in at your nearest Schmitt’s for a FREE GRAND PIANO FLOOR PATTERN. This actual-size pattern will help you decide not only what size
grand will fit in your home, but also where you might place it.
Also request your FREE copy of a PIANO BUYER’S GUIDE.
This 36-page booklet explains the differences in sizes,
types, quality, features and materials. It discusses used piano
restoration and repair, today’s player pianos,
digital pianos, warranties
and more.
©20
05 S
chm
itt
Mu
sic
Co
. When you think of music, think of Schmitt’s!
Since1896
For your FREE grand pattern and Piano Buyer’s Guide, call or stop in…for the Schmitt’s nearest you call 1-877-SCHMITT (724-6488) or visit www.schmittmusic.com. Or email your request with your name and address to [email protected].