Upload
minnesota-opera
View
227
Download
0
Tags:
Embed Size (px)
DESCRIPTION
2001-2002 Season
Citation preview
Giuseppe Verdi
5• d
on
ca
rl
os
Contents
The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson
Chair, Board of Directors Virginia L. Stringer
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. In addition, thisactivity is supported in part by a grant from the National Endowment for the Arts.
May 2002
The Minnesota Opera Programis published by Skyway Publications, Inc.
Chief Executive O∑cer Keith Engen Corporate Administrator/Publisher Todd Hyde
Assoc. Publisher/Director of Production Marsha KitchelSenior Account Executives Liesl Hyde, Yvonne Dilts
Creative Designer Michael GutierresProduction Designers Sue Sentyrz Klapmeier,
Jill Adler, Robert Ochsner
SKYWAY PUBLICATIONS, INC. 10001 Wayzata Blvd., Minneapolis, MN 55305
Phone (612) 375-9222 FAX (612) 375-9208
Large-print and Braille programs are available at the Patron Services O∑ce
Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Minnesota Opera Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Don Carlos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Behind Don Carlos: The History and the Drama . . . . . . . . . . . . . . 14
The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
The Camerata Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
The Minnesota Opera Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Sta∂. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The Minnesota Opera Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Coming Up: The 2002 – 2003 Season . . . . . . . . . . . . . . . . . . . . . . . . . . 30
MINNESOTA’S INTERNET SOLUTIONS PROVIDER
KEEPING YOU CONNECTED.
th
e m
inn
es
ot
a o
pe
ra
•6
Board of Directors
Dominick ArgentoH. Wesley BalkPhilip BrunelleElizabeth Close
Dolly FitermanCharles C. FullnerNorton M. HintzDonald W. Judkins
David P. KeefeLiz KochirasJevne PennockPatricia H. Sheppard
Honorary Directors
Julia W. Dayton, Director Emeritus James A. Rubenstein, legal counsel,Moss & Barnett
Virginia L. Stringer, Chair Susan S. Boren, Vice ChairBruce Nelson, Secretary Loren Unterseher, Treasurer
Kevin Smith, President & CEO
August J. AquilaMartha Goldberg
AronsonKaren BachmanPatricia BauerSusan J. CrockettEllie CrosbyRolf EnghThomas J. Foley
John G. ForsytheSteve FoxR. Thomas Greene, Jr.Heinz HutterPaula R. JohnsonMichael F. Kelly, Jr.Edward J. KeransSarah B. KlingLynne E. Looney
Thomas R. McBurneyDiana E. MurphyJose PerisKimberly S. PuckettConnie RemeleSteven M. RothschildLucy T. SearlsGregory C. Swinehart Catie Tobin
Welcome. U.S. Bancorp Piper Jaffray ispleased to help bring you The MinnesotaOpera’s production of Don Carlos. Sponsoring the opera season is just partof our commitment to the arts and qualityof life in our community.
Staging this fine performance takes team-work. From the conductor to the cast mem-bers to the costume designers, manyindividuals are working together to enter-tain you. This team includes managementand patrons – even the audience – whomake a successful production possible.
At U.S. Bancorp Piper Jaffray, we embraceteamwork. We work with clients to understand their needs and accomplishtheir goals. We work with colleaguesthroughout U.S. Bancorp to provide a comprehensive range of financial solu-tions. And we work with The MinnesotaOpera and other high-quality organizationsto enrich our community.
We’re proud to be part of the team effortyou’re about to experience. Enjoy the performance.
Andrew DuffPresident and CEOU.S. Bancorp Piper Jaffray Minnesota Opera Volunteers
The following volunteers contribute their time
and talent in support of key activities of The Minnesota Opera.
Ann Albertson
Laurel Anderson
Jamie Andrews
Gerald Benson
Matt Bluem
Linda Brandt
Jim Brownback
Sue Brownback
Meredith Cain-Nielsen
Kathy Cameron
Joann Cierniak*
Tricia Clarke*
Caroline Coopersmith
Lindsay Craig
Beverly Dailey
Marcia del Castillo
Lee Drawert
Judith Duncan
Sally Economon
Mary Sue Fiola
Jane Fuller
Joan Gacki(Volunteer Chair)
Christine A. Garner
Heather Gehring
Juhi Gupta-Gulati*
Mark Gustin
Mary E. Hagen
Travis Hanstad
John Harris*
Kristen Heimerl
Anne Hesselroth
Alisandra Johnson
Karen Johnson
Nancy Johnson
Jeanie Johnston
Susan Kalmer
Dianne Kelly
Remigijus Klyvis
Eleanore Kolar
Lucinda Lamont
Shirley Larson
Rita Lavin
Lisa Liveringhouse
Rochelle Lockwood
Rusty Low
Jennifer Madvig
Joan Masuck
Mary McDiarmid
Beth McGuire
Verne Melberg
Warren Mitlyng
Linda Morey
Doug Myhra
Dan Panshin
Pat Panshin
Kaye Peters
Sydney Phillips
Bill Phillips
Julia Porter
Kathryn Rich
Jack Richter
John Rosse
Florence Ruhland
John Sauer*
Michael Silhavy
Wendy Silhavy
Wendi Sott
Dawn Stafki
Harry D. Swepston, III
John Thompson
Anne Townsley
Nicholas Trimbo
Doris Unger
Carolyn Wahtera
Barbara Willis*
Jeremy Wright
Melissa Zschunke
*Lead volunteer
Cafe,Bakery,Wine & Pizza Bar
850 Grand Avenue,St Paul 55105651-224-5687 www.cafelatte.com
Keri Picket
Scenery and costumes for this production
are owned by Opera North (Leeds).
An Opera North Production®
The appearances of Indra Thomas and
James Valenti, winners, Ana Rodriguez and
Stefan Szkafarowsky, regional finalists, and
Matt Boehler, district finalist of the
Metropolitan Opera National Council Auditions,
are made possible through a Minnesota Opera
Endowment Fund established for
Artist Enhancement by Barbara White Bemis.
Performances of Don Carlos are being taped
for delayed broadcast on Minnesota Public Radio,
ksjn 99.5 in the Twin Cities, on June 16, 2002.
The Minnesota Opera season is proudly spon-
sored by U.S. Bancorp Piper Ja∂ray.
OperaInsights is sponsored by SpencerStuart.
The 2001-2002 Camerata Circle Dinners are sponsored by Rider,
Bennett, Egan & Arundel.
Promotional support provided by
Minnesota Monthly.
Special thanks to Miller Meester
advertising for making the 2001-2002 season
preview recording possible.
9• d
on
ca
rl
os
Music by Giuseppe VerdiLibretto by Joseph Méry and Camille du Locle
after Friedrich von Schiller’s dramatic poem (1787)
World premiere at the Paris Opéra, March 11, 1867
Revised four-act version presented at the Teatro alla Scala, Milan, January 10, 1884
May 11, 12, 14, 16, 18 and 19, 2002
Ordway Center for the Performing Arts
Sung in French with English captions
The CastDon Carlos, Infante of Spain Paul Charles Clarke*
Julian Gavin**
Elisabeth de Valois, Philippe’s queen Indra Thomas*
Geraldine McMillian**
Rodrigue, Marquis de Posa Jason Howard*
Carlos Marín**
Princess Eboli Robynne Redmon*
Alina Gurina**
Philippe ii, King of Spain Dean Peterson
The Grand Inquisitor Stefan Szkafarowsky
A monk Matt Boehler
Thibault, Elisabeth’s page Ana Rodriguez
Count de Lerma James Valenti
Celestial voice Karin Wolverton
Flemish deputies, o∑cers of the Inquisition, monks, lords and ladies of the Spanish court,
peasants, heretics, populace, guards and soldiers
Setting: Spain, about 1560
* performs May 11, 14, 18 ** performs May 12, 16, 19
Conductor . . . . . . . . . . . . . . . . . . . . .Marco Zambelli
Stage Director . . . . . . . . . . . . . . . . . . . . . .Tim Albery
Set Designer . . . . . . . . . . . . . . . . .Hildegard Bechtler
Costume Designer . . . . . . . . . . . . . .Nicky Gillibrand
Lighting Designer . . . . . . . . . . . . . . . .Tom Mannings
after original designs by Charles Edwards
Wig Master and Makeup . . . . . . . . . . . . .Tom Watson
Assistant Director . . . . . . . . . . . .Doug Scholz-Carlson
Assistant Conductor . . . . . . . . . . . . . . .Je∂rey Domoto
Chorusmaster . . . . . . . . . . . . . . . . . . . .Joseph Lawson
Production Stage Manager . . . . . . . . .Alexander Farino
English Captions . . . . . . . . . . . . . .Christopher Bergen
Paris represented the ultimate challenge for
Giuseppe Verdi. The operatic capital of the
world hosted triumphs for Italian composers of
previous generations but for Verdi, the reception
had been coolly mixed. Granted, such staples as
Rigoletto, La traviata (as Violetta) and Il trovatore (as Le
trouvèr e) had been wildly successful in French
t r a n s l at i o n, b u t t h e w o r k s Ve r d i w r o t e o r
r e w r o t e w i t h t h e F r e n c h f o r m u l a i n m i n d
( J é ru sa l em , Le s v ê p r e s s i c i l i e nn e s , Macb e th ) had not
achieved the success he had hoped. In fact, dur-
ing rehearsals of a revived Vêpres, an angered and insulted Verdi vowed never to return to a
theater whose management and musicians had caused him so much strife.
The reason for his return only a few years later is worthy of
speculation even today. He had been o∂ered a contract from
Emile Perrin, director of the Paris Opéra, for a spectacular
opera to be featured as part of the 1867 Universal Exhibition.
For his part, Perrin really needed a composer of first class but
had few candidates at his disposal. Giacomo Meyerbeer had
just died in 1864, and Richard Wagner, after the horrific fail-
ure of Tannhäuser in 1861, could hardly be considered a viable
option. Stigmatized by an institution which seemed to move
like “marble and lead,” Verdi couldn’t have been very excited
by another commission, prestigious as it was. Curiously, it
was Meyerbeer’s success that might have been one of his pri-
mary motivators – the ultimate composer of the French grandopéra style had been successful in Italy at the beginning of his
career, and now his French works, Les Huguenots, L’Africaineand Robert le diable were becoming big hits in Verdi’s native
land. Certainly Verdi was the superior composer and could
equal or even surpass Meyerbeer’s popularity on his home turf.
Perrin had the good sense to approach Verdi through the
composer’s French publisher, Léon Escudier. Three potential
subjects were proposed – King Lear, Cleopatra and Don Carlos.While it was his lifelong ambition to compose an opera on
King Lear and the epic proportions of the story would fit in
well with the Opéra expansive resources, the composer feared
the casting would be inadequate. He also passed on Cléopâtresince the story did not feature sympathetic lovers. Don Carlosintrigued him, however, as Schiller had served him well in
three operas to date: Giovanna d’Arco, I masnadieri and LuisaMiller. It was not the first time Schiller’s play had been pro-
posed – in 1850 Alphonse Royer and Gustave Vaëz suggested
it for the opera that would become Vêpres, and just the year
before that Verdi’s stalwart librettist, Francesco Maria Piave,
had prepared a libretto entitled Elisabetta di Valois. Clearly his
interest had been peaked in the past.
But Schiller’s drama lacked spectacle, and spectacle is what
grand opéra was all about. Not unlike today’s hyper-demand
for sensational special e∂ects in motion pictures,
bourgeois Parisians expected the same degree of tit-
illation in the 19th century. Each opera had to one-up
the last and as technology improved (i.e. the intro-
duction of electric lighting), this became all the
more possible. Librettists Camille du Locle and
Joseph Méry assisted the composer in livening up
Schiller’s play with the introduction of the ghostly
presence of Charles v and a plus non ultra auto-da-fé
scene with the entire cast, chorus and countless su-
pernumeraries in full regalia. Again, this was not an
original idea for the librettists, who also had at their
disposal a recent play by Eugène Cormon, Philippe ii,roi d’Espagne (1846), which references this menacing
tradition of the Spanish Inquisition. They also bor-
rowed the Fontainebleau scene, which does not
occur in Schiller, but fulfilled the grand opéra re-
quirement of having one setting in a foreign locale.
Verdi traveled to Paris in the summer of 1866
with a nearly complete score in hand and began the
long and particularly arduous seven-month rehearsal
process required by the opera’s management – mise-
en-scène was taken very seriously by the French di-
rectors even in those days. As the production neared
th
e m
inn
es
ot
a o
pe
ra
•10
Background Notes by David Sander
completion it was discovered that Verdi’s score had run 17
minutes over its allotted time. Grand opéra, after all, had its
rules – Parisian audiences liked their opera long but not too
long. A performance began promptly at 7:00 p.m. (never ear-
lier as not to rush dinner) and had to end by midnight so that
the suburbanites could catch the last train at 12:35. Thus
began the first series of cuts and revisions, which would not
be in completion until 20 years later and then not even in a
definitive form.
The first to go was a prelude and introduction, the prelude
setting the tinta of the opera so valued by Verdi, the introduc-
tion satisfying the dramatic necessity of explaining Elisabeth’s
predicament. It includes the peasants’ lament over the espe-
cially harsh winter as a result of France’s continuing war with
Spain, a war to be settled with a dynastic marriage between
the two countries. Elisabeth has a chance to display her gen-
erosity to a war widow, thus setting up her character as virtu-
ally unmarrable, which remains consistent throughout the
opera. Smaller nips and tucks elsewhere in the score shaved it
down to the standard duration.
One reason for the opera’s substantial length (itself unusual
for a composer known for his brevity) is that Verdi found
himself with a variety of strong characters: the duty-bound
Elisabeth, the widely irrational and romantic Carlos, the
ultra-patriotic Rodrigue, the powerful yet vulnerable King
Philippe, the equally powerful but strongly reactionary Grand
Inquisitor, and a dangerous, conniving beauty in Eboli. The
opera is laid out in a series of duets and confrontations – be-
tween Elisabeth and Carlos, Carlos and Rodrigue, Rodrigue
and Philippe, Philippe and the Grand Inquisitor, Elisabeth
and Eboli. Verdi expounds upon all of his favorite themes –
filial conflict, private anguish in the wake of public duty, pa-
triotism battling religious fervor. Don Carlos is sometimes de-
scribed as a “thinking person’s” Verdian opera. It certainly
represents the composer in all of his dramatic complexity.
Of course, much of this was lost on the bourgeois audi-
ence, and though Don Carlos was to achieve 43 performances,
it would soon be dropped from the repertory. The Parisians
may have taken their cue from the Empress Eugénie – she
took o∂ense at the intimate portrayal of Spain’s history, in-
cluding the vulnerability of Philippe ii, a national hero in her
native land. She found Verdi’s treatment of the Grand In-
quisitor especially distasteful at the moment when Philippe
tells the old priest to “Tais-toi,” essentially “shut up.” (Verdi
got his personal jibe at the clergy by requesting the Grand In-
quisitor be old and blind – blind both in sight and to the
changing world around him – but the double entendre was
not lost on the Empress.) The composer shut the door on Paris
for good. Ironically, his next opera, Aida, written for Cairo but
veiled in the grand opéra tradition, would become the toast of
the town after its French premiere in 1880. And to the com-
poser’s ultimate disgust, the last music to flow from his pen
would be for Paris – a ballet for the French premiere of Otello(as Othello) in 1894.
But this was not the end of Don Carlos. It received its Ital-
ian premiere later that year in all its Parisian glory but in Ital-
ian translation. Several years later for a production in Naples,
Verdi decided to make several subtle changes, particularly in
the duet between Rodrigue and Philippe, and this was pub-
lished as a second o∑cial version of the opera. But nothing
would match the revisions a decade later when, for a produc-
tion in Milan, he cut out nearly half of his original score.
Gone was entire first act, with Carlos’s aria transferred to Act
ii (now Act i), modified slightly to recall his happy idyll at
Fontainebleau with its unhappy result – the marriage of Elisa-
beth and Philippe. Not surprisingly, the ballet was jettisoned,
and Act iii (now Act ii) opened with a new prelude based on
themes from Carlos’s aria. The Rodrigue-Philippe duet was
revised yet again, becoming more of dramatic dialogue in-
dicative of Verdi’s later style. Other revisions included dis-
crete changes in the Rodrigue/Carlos Act ii duet, an amended
Act iv quartet during which Elisabeth assumes more power
and dignity befitting her royal lineage, followed by a new in-
surrection scene to close the act (after the Paris premiere the
act had ended abruptly with Rodrigue’s death so that the
baritone would not have to lie uncomfortably on the floor for
an additional 15 minutes). Changes were made in Act v as
well – the marziale in Elisabeth and
11• d
on
ca
rl
os
continues on page 13
th
e m
inn
es
ot
a o
pe
ra
•12
SynopsisPhilip, King of Spain, has recently
married Elisabeth de Valois of
France. Carlos, his son, was origi-
na l ly meant to marry her .
They loved each other, but
n o w s h e i s h i s
stepmother.
Act iScene one – At the tomb ofC h a r l e s v C a r l o s
l a m e n t s h i s f a t e . A
monk offers Carlos words
of comfort. Carlos is ter-
rified because he is con-
vinced that the monk is
the ghost of Emperor
Charles v. Rodrigue has
just returned from
Flanders, where the
people suffer under
the repressive rule
of Spain. He urges
Carlos to fight for
their f reedom. The
k i n g a n d q u e e n ,
Philippe and Elisa-
beth, pass by on their
w ay t o M a s s . C a r l o s
knows that Elisabeth will never be
his and decides to devote himself to
the Flemish cause.
Scene two – A garden outside thecloister The ladies of the court
wait for Elisabeth
to return from the
morn ing Mas s .
Princess Eboli en-
t e r ta i n s t h e m
with a song. Ro-
drigue delivers
a secret note
from Car-
l o s t o t h e
q u e e n . Th e
court retreats,
a l lowing her
to meet Car-
los in private.
Carlos wants
Elisabeth to
a s k t h e
k i n g t o
send him
to F l an -
ders. He grows angry at her appar-
ent coolness. Recrimination quickly
turns to love. Elisabeth only extri-
cates herself from potential disas-
ter by brutally confronting
Carlos with the fact that
she is now his mother.
He leaves distraught,
and Elisabeth is dis-
covered alone by the
king. Furious at find-
ing the queen unat-
tended, he banishes
her French lady-in-
waiting. When the
court is gone, Philippe
interrogates Rodrigue,
w h o s h o c k s h i m b y
launching into a tirade
against Spanish policy
in Flanders. Impressed
by Rodrigue’s boldness,
P h i l i p p e r e v e a l s h i s
doubts about his wife’s fi-
delity and gives Rodrigue
the task of observing her and
Carlos. Rodrigue realizes the
political advantage of
having the trust of the
king.
Act iiScene one – The queen’s gar-den Carlos has received a
note – he presumes from
Elisabeth – inviting him
to a secret meeting.
His raptures of love are
s i l e n c e d w h e n t h e
“queen’s” veil is lifted
to reveal Eboli. In love
with Carlos, Eboli has
written the note. She
warns him of Rodrigue’s
new friendship with the
king. When Eboli real-
izes Carlos is in love with
Elisabeth and not her, she
turns on him. Rodrigue
appear s , f ea r ing that
Eboli might ruin his plans.
Despite his threats she
leaves, intent on vengeance. Ro-
drigue persuades a confused Carlos
to hand over any incriminating let-
ters he is carrying.
Scene two – The auto-da-fé The peo-
ple gather for a public burning of
the heretics condemned by the In-
quisition. The arrival of the king
and queen is interrupted by Carlos,
accompanied by a delegation from
Flanders. When Philippe rejects
their plea for clemency toward the
Flemish people, Carlos demands to
be sent to rule in Flanders. Philippe
reacts with scorn, and Carlos draws
his sword against his father. To Car-
los’s amazement, Rodrigue steps in
to disarm him. Carlos is led away to
prison as the burning begins.
intermission
Act iiiScene one – The king’s study Philippe
is now convinced that Elisabeth has
betrayed him with Carlos. He has
summoned the Grand Inquisitor,
who tells him that the Church will
sanction the killing of Carlos. But,
in return, the Church demands the
death of the king’s new advisor, Ro-
drigue. Philippe refuses, and the
matter is left unresolved. Elisa-
beth bursts in. She is furious:
someone has stolen her jewel
box. Philippe has it and con-
fronts her with the portrait
of Carlos he has found in-
side. When he accuses
her of infidelity she col-
lapses. His calls for help
are answered by Eboli
and Rodrigue. Eboli is hor-
rified to see the result of
her deceit – it was she who
gave the jewel box to the
king. Philippe, consumed
with self-disgust, realizes
his wife is innocent. Alone
with the queen, Eboli con-
fesses to the theft o f the
jewel box. When Eboli ex-
plains that she acted out of
jealousy and love of Car-
los, Elisabeth forgives
her. But when Eboli goes on
to confess that her anger at Carlos
has led her to commit adultery with
the king, the queen exiles her for-
ever from the court. Eboli, knowing
Eboli
Rodrigue
Carlos
13• d
on
ca
rl
os
that she must live out her days in a
convent, realizes that she may still
be able to save Carlos.
Scene two – A prison Rodrigue
comes t o s e e Ca r l o s i n
prison. He has pretended
that Carlos’s incriminating
letters are his own and al-
lowed them to fall into the
hands of the authorities. He
hopes by this self-sacrifice
to save Carlos. An unseen
assassin shoots Rodrigue.
As he dies he tells Carlos to
meet Elisabeth early the next
morning at the tomb of
Charles v. She will help
him escape to Flanders.
Philippe arrives. Now
h e
knows that
Rodrigue is a
traitor, he is
r e a d y t o
f o r g i v e
Carlos. He
i s s h a t -
t e r e d t o
h e a r Ro -
d r i g u e
died delib-
e rate ly to
s av e h i s
s o n . Th e
p e o p l e ,
r o u s e d t o
rebellion by
Eboli, come to
f r e e C a r l o s ,
w h o e s -
c a p e s
b e f o r e
the Grand
Inquisitor man-
ages to crush the revolt.
Act ivAt the tomb of Charles v Elisabeth
and Carlos reconcile themselves to
parting, but before Carlos can leave
for Flanders, the king arrives and
hands them both over to the Inqui-
sition. As Carlos resists arrest, the
ghost of Emperor Charles v reap-
pears.
Background (continued)
Elisabeth
The Grand Inquisitor
Philippe
Carlos’s duet was reintroduced with
new orchestration (it had been removed
in the Naples revision), and the finale
was toned down a bit from its original
grand opéra climax. Other key scenes,
such as the auto-da-fé, Philippe and
Eboli’s Act iv arias, the whole of Act
ii’s second scene up to the point of
Philippe’s entrance, and the king’s con-
frontation with the Grand Inquisitor
were virtually untouched, making yet
another composite of Verdi’s earlier and
later styles (other examples include
Macbeth and Simon Boccanegra). The new
“Italian” Don Carlo premiered at La
Scala on January 10, 1884.
Though his new opera had more con-
cision and “sinew” as he described it,
Verdi still was not satisfied. The new
Don Carlo may have been shorter and
faster, but it seemed to lack the dra-
matic pacing and forethought estab-
lished by the original French five-act
version. Perhaps sensing this, Verdi pre-
sumably authorized one more edition of
the opera for Modena in 1886. This in-
cluded the return of the five-act format
with Fontainebleau restored and the
Carlos aria moved to its original posi-
tion. Otherwise the score is identical to
the four-act Milan version, complete
with the final revision of Philippe-Ro-
drigue duet that gave Verdi so much
trouble, and, of course, with no ballet.
With five versions of the opera (in-
cluding the “1866” score, which has
since restored the rediscovered music
cut during the rehearsal prior to the
Paris premiere), what is the definitive
version? The jury is still out as opera
impresarios struggle to include what
each considers to be the best music,
often in a further agglomeration of the
various versions. The Don Carlos you
will hear for these performances will be
the four-act Milan version, but sung in
French rather than the more commonly
performed Italian. At each juncture,
Verdi revised his opera in the French
and then had it translated. As a result,
the vocal line as originally conceived
brings out the subtlety of the French
text, and its prosody is better suited to
the original language – it is more lyric
and more intimate.
th
e m
inn
es
ot
a o
pe
ra
•14
History may be a crucial part of the
19th-century Romantic movement,
but Romanticism is rarely history, and if
one is looking for the real plight of Don
Carlos, they needn’t bother with Verdi’s
opera, Schiller’s drama, or really any
other literary adapta-
tion written prior to
the 20th century. As
can happen, the gos-
sip took hold of the
facts and led to wide
array of colorful adap-
tations of the events
surrounding Philip iiand his immediate
family during the
mid-16th century.
The first glaring
di∂erence is the set-
ting. Verdi and his li-
brettists place the
tragedy just after
1559, the year Philip
marries his third
wife, Elisabeth de
Valois, daughter of
French King Henri ii. This date also cor-
responds to the signing of the peace
treaty with France following the battle
of St. Quentin. But neither Philip nor
Carlos went to France for this occasion –
Elisabeth was married by proxy with the
Duke of Alba standing in for the Spanish
king. Also, Carlos was only 14 years old
at the time and Elisabeth a mere 13. It’s
true Philip seized upon an unexpected
opportunity to marry his son’s betrothed
after his second wife and cousin, Mary
Tudor, died in 1558, but Carlos and
Elisabeth never met until her arrival in
Spain, and the Infante’s troubles didn’t
precipitate until several years later, in
1567.
Twentieth century historians tell us
that Carlos and Elisabeth were simply
good friends. Close in age they shared a
mutual warmth uncommon in the chilly
formality of Philip’s court. As things
stood Carlos had his eye on a far more
advantageous match to his cousin Anne
of Austria, a marriage that would con-
nect with the other branch of the family
and put him in a good position to take
charge of the Spanish Netherlands. Mar-
rying close relatives was commonplace
in the Hapsburg family, and though it
was e∂ective in acquiring land mass, it
was equally as destructive in producing
capable rulers.
The Hapsburgs acquired Spain when
Juana, daughter of Ferdinand and Is-
abella, and Philip,
son of Maximilian iand Mary of Bur-
gundy, married in
1497. Juana was
known for her men-
tal instability, in-
herited from the
intermarriage of her
own Spanish and
Portuguese rela-
t ives . Her fina l
breakdown oc-
curred when her
husband, whom she
dearly loved, died
prematurely (she
was known to travel
with Philip’s co∑n
and remains for
months a f te r ) .
Though Juana “la loca” inherited the
rule of Castile from her mother, she was
locked up in the tower of Tordesillas
from 1506 until her death in 1555.
The young couple
had time enough to
produce a son,
Charles, who would
soon become the
Holy Roman Em-
peror Charles v. His
great inheritance in-
cluded Spain and its
New World posses-
sions and much of
Italy from Juana and
his grandfather, Fer-
dinand, and Austria
and the Netherlands
from his grandpar-
ents on the Haps-
burg side. Though
not as crazy as his
mother, Charles was
known to be melan-
choly, and he abdicated his throne in
1556, splitting the empire between his
son Philip and his younger brother Fer-
dinand. The most logical division would
have left Philip with Spain and Italy and
Ferdinand with Austria and the Low
Countries; yet Charles, feeling sentimen-
tal, chose to bequeath Flanders to Philip,
because he wanted his son to inherit the
country of his birth and his spiritual
home. Little did he know the trouble it
would cause.
At this time Europe was embroiled in
the Counter Reformation and Catholi-
cism was put to the test. England had
already renounced the old religion, as
did much of Germany, but Austria,
Spain and France remained committed
to the cause and to eradicating heresy.
Within its own boundaries Spain was
not especially threatened by the Protes-
tants, but Flanders, poised between two
Protestant fronts, was an easy target.
Margaret of Parma, Philip’s sister and
governor of the Low Countries, was en-
trusted with quelling the turbulence
roused by William, Prince of Orange,
but when she failed, Philip sent the
Duke of Alba. The ruthless Alba
quickly put down the resistance with an
iron hand by ordering the execution of
Counts Egmont and Horn, two of
William’s closest allies. Philip’s own ap-
pearance in the Netherlands might have
been helpful, and he intended to go but
was deta ined by
family problems
that arose thanks to
his son ’ s unpre-
dictability.
Car los was
plagued with prob-
lems from the day
he was born. His
mother, who Philip
deeply loved, had
died in childbirth,
and as he was imme-
diately estranged
from his father, Car-
los was raised by his
aunt. A serious head
injury result ing
from a fall in his
teens left everyone
in fear for his life
and though recovering, he was never ter-
ribly stable, exhibiting erratic behavior
that alternated between acts of great
generosity and appalling cruelty. There
Behind Don Carlos: The History and the Drama
Elisabeth de Valois (1545–1568)by Alonso Sanchez Coello
Eric
h Le
ssin
g, A
rt R
esou
rce
NY
Infante Don Carlos (1545–1568) by Alonso Sanchez Coello
Eric
h Le
ssin
g, A
rt R
esou
rce
NY
15• d
on
ca
rl
os
can be little doubt Philip began to see
the seeds of the family’s mental illness in
his son. The intermarriages were espe-
cially close in Carlos’s case – among his
great-grandparents he could count only
four (instead of the usual eight) and only
s ix great-great
grandparents (in-
stead of the usual
16). Naturally Car-
los pressed for a
greater role in gov-
ernment, including
the rule of Flanders,
yet Philip tarried,
hoping to see signs
of improvement in
his only heir.
Things came to a
head in 1567 when
Philip sent Alba to
Flanders instead,
and Carlos privately
conspired to go to
the Low Countries
as a subversive to
ra l ly the rebe l s
around in a plan hatched by Egmont a
few years before. Oddly, he confided his
plans to Ruy Gómez de Sylva, Prince of
Eboli and Philip’s closest advisor, who
promptly told the king. Philip had Car-
los taken into custody with the intention
of never releasing him, much like his fa-
ther had done with his own mother
Juana. Before any news could leave the
Spanish border, Philip cautiously wrote
to all the heads of Europe explaining
what he had done. No one
was really surprised.
Fortunately for Philip,
Carlos died in captivity on
July 24, 1568, after six
months of alternate binge-
ing and starvation. Less
convenient was Elisabeth’s
death three months later of
complications from pneu-
monia and childbirth. Im-
mediate ly rumors
abounded that Philip had
poisoned Carlos and Elisa-
beth because of an illicit
love a∂air, gossip put into play by
Protestant adversaries such as William of
Orange. Philip paid it no mind and
promptly married another of his son’s
betrothed (and his own niece), Anne of
Austria. Together they produced another
sickly heir who would become Philip iii.The poison theory was seized upon a
century later by César Vischard Saint-
Réal who brandished
his own take on his-
tory in Don Carlos,Nouvelle historique(1672). Naturally he
portrays Philip as a
monstrous villain,
and with a Henry
the Eighth twist,
goes just short of
suggesting Philip
murdered Elisabeth
so he could marry
Anne (Elisabeth,
after all, had not pro-
v ided any sons ) .
Thomas Otway, Jean
Racine, Vittor io
Alfieri, Robert Wat-
son and Louis Sébas-
t ian Merc ie r
followed with similar feats of fiction, and
when the time came Schiller himself
turned to Saint-Réal for guidance.
Though still far from being historically
accurate, Schiller shied away from the
poison theory and, indeed, the whole
love a∂air. The author also injects into
Philip’s traditional depiction as a cold-
hearted tyrant a dose of humanity, at-
tributes that later would be given
greater attention by Verdi.
Friedrich von Schiller
(1759 – 1805) was part of
the Sturm and Drangmovement of the late 18th
century, a precursor to
Romanticism. Translated
as “Storm and Stress,”
these works commonly
featured frustrated ideal-
ism in pursuit of libertar-
ian goals , o f ten in a
pseudo-historical setting.
Both the enlightened
phi losophy o f Jean-
Jacques Rousseau and the
logic behind the French Revolution un-
derwrote Schiller’s works, later to be
highly influential for the development of
Romantic literature during the early
part of the 19th century.
Don Carlos is a play from the early
part of Schiller’s career. The subject was
not easily addressed, and the completed
work is somewhat uneven in its dra-
matic outlay, the result of a shift in the
author’s original intention to create a
drama with political significance to the
domestic tragedy of a dysfunctional
family. The libertarianism is not lost
but, in fact is doubled by both Carlos
and Posa’s intention to change the
world, countered by an equally formida-
ble team of antagonists in the Duke of
Alba and the Grand Inquisitor. Feeling
the weight of so many complicated
characters, Verdi chose to write Alba
out of his opera – also the Duchess of
Alba in 1866 just happened to be
French Empress Eugénie’s sister.
Other changes in adapting a rather
shapeless play to the lyric stage led to
several of the opera’s inconsistencies.
Chief among these is the presence of
Charles v, whose ghost is said to haunt
the royal palace. In the play, Carlos uses
the rumor to his advantage as he dons a
monk’s robe to get past the guards and
gain access to Elisabeth’s chamber. But
at the drama’s conclusion Philip rather
anticlimactically has the o∑cers of the
Inquisition take Carlos into custody.
Verdi and his librettists latched onto the
possibility of Charles roaming the
monastery, inspired by the legend that
the emperor had staged his own funeral
so that he could attend it himself. Yet
they can’t seem to agree as to the physi-
cal condition of Charles – man or ghost
– yet Verdi was keen on altering the
ending from Schiller’s original, believ-
ing that the emperor’s intercession in
Carlos’s capture would leave the In-
fante’s fate more hopeful, perhaps re-
gaining the liberty to achieve his
revolutionary ideals.
Also inconclusive in the opera is
Eboli’s a∂air with the king. In Schiller’s
play, Philip has been courting Eboli for
quite some time. She allows herself to be
seduced only after learning of Carlos’s se-
cret love for Elisabeth and uses the situa-
tion to obtain further incriminating
information against her royal mistress.
continues on page 25
Philip II (1527–1598)by Alonso Sanchez Coello
Friedrich von Schiller
Eric
h Le
ssin
g, A
rt R
esou
rce
NY
The Artistst
he
min
ne
so
ta
op
er
a•
18For more biographical information about these artists,
visit our website at www.mnopera.org
Matt BoehlerA monk
Minnesota Opera Resident ArtistRecently
Little Women; La bohème; others, The Minnesota OperaLa bohème, Fargo-Moorhead Civic Opera
Orpheus in the Underworld; Christopher Sly; The Consul; others, Des Moines Metro Opera
Amahl and the Night Visitors; The Magic Flute; Le nozze di Figaro; The Threepenny Opera, Viterbo College
UpcomingA Midsummer Night’s Dream, Central City Opera
2002-2003 Resident Artist, The Minnesota Opera
Paul Charles ClarkeDon Carlos
Minnesota Opera DebutFaust, 1999
RecentlyThe Bartered Bride, Royal Opera House – Covent GardenManon, The Dallas OperaLucia di Lammermoor, Seattle OperaMadame Butterfly, Deutsche Oper Berlin
UpcomingMadame Butterfly, Welsh National OperaMaria Stuarda, Edinburgh FestivalThaïs, English National Opera
Julian GavinDon Carlos
Minnesota Opera DebutRecently
Tosca, Opera ColoradoLes contes d’Hoffmann, Washington Opera
La bohème, De Vlaamse OperaIl trovatore, English National Opera
UpcomingAndrea Chénier, Opera Queensland
Andrea Chénier; La traviata, Washington OperaMacbeth, De Nederlandse Opera
Carmen, Teatro Real (Madrid)
Alina GurinaPrincess Eboli
Minnesota Opera DebutRecentlyCavalleria rusticana; Verdi Requiem, Canadian Opera Co.Carmen; Don Carlo; Rusalka; others, Janacek Opera BrnoSamson et Dalila; Carmen, Stadttheater Giessen Bluebeard’s Castle, (Budapest)
UpcomingRigoletto, Florentine OperaCavalleria rusticana, Erfurt (Germany)
Jason HowardRodrigue
Minnesota Opera DebutMacbeth, 2000
RecentlyMadame Butterfly, Scottish Opera
Rigoletto, Edmonton OperaLa traviata, English National Opera
Peter Grimes, Opéra National de Paris – BastilleMourning Becomes Elektra, Lyric Opera of Chicago
UpcomingLa traviata, New York City Opera
Rigoletto, Scottish Opera
Carlos MarínRodrigue
Minnesota Opera DebutLucia di Lammermoor, 2001
RecentlyRoméo et Juliette, Opera de OviedoMadame Butterfly, Opéra de MontpellierLucia di Lammermoor, Teatro Regio di Parma
UpcomingLa bohème, Opéra de LausanneLa capricciosa coretta, Opéra de Lausanne;
Opéra de Bordeaux; Teatro de la Zarzuela (Madrid)
A New Community by the River
Join the move to the river. Express your creative lifestyle with our new construction, loftstyle condominiums. 10 foot ceilings and large windows. Downtown or river views. Spacious open floor plans. A few great loft units still available from 1,900 to 2,325 squarefeet. Priced from $375,000 to the mid $500,000’s. Please call for your private showing.
Fran Davis6 1 2 . 9 2 5 . 8 4 0 8
Inde
pend
ently
Ow
ned
and
Ope
rate
d by
NR
T, I
nc.
19• d
on
ca
rl
os
The ArtistsFor more biographical information about these artists, visit our website at www.mnopera.org
Geraldine McMillianElisabeth
Minnesota Opera DebutTurandot, 1995
RecentlyDon Giovanni, Nashville Opera; Connecticut Opera
Dialogues des Carmélites, Central City OperaTreemonisha, Opera Theatre of St. Louis
Aida, Memphis Opera; Boston Lyric OperaTosca; Aida; Don Giovanni, The Minnesota Opera
Porgy and Bess Suite, NDR Sinfonieorchester Hamburg;Detroit Symphony; Pacific Symphony Orchestra
Dean PetersonPhilippe
Minnesota Opera DebutRecentlyThe Merry Widow, Los Angeles OperaStreet Scene; Otello, Lyric Opera of ChicagoWozzeck, The Dallas OperaThe Bartered Bride, Canadian Opera CompanyL’italiana in Algeri, Metropolitan Opera
UpcomingCosì fan tutte, San Diego OperaLe nozze di Figaro, Opera CarolinaCold Sassy Tree, Utah Opera
Robynne RedmonPrincess Eboli
Minnesota Opera DebutRecently
Don Carlos, Boston Lyric OperaNorma, Fort Worth Opera; Staatsoper Berlin; Opéra de Marseille; Lyric Opera of Chicago
Rigoletto, The Dallas OperaSalome, Glimmerglass Opera
Armide, Teatro alla Scala
UpcomingDialogues des Carmélites, Glimmerglass Opera
Iphigénie en Aulide, vara Radio Amsterdam
Ana RodriguezThibault
Minnesota Opera Resident ArtistRecentlyLittle Women; La bohème; La clemenza di Tito;
Lucia di Lammermoor, The Minnesota OperaGianni Schicchi; Carmen; Le nozze di Figaro;
L’enfant et les sortilèges, Orlando Opera CompanyLa bohème, Opera North (New Hampshire)Cinderella; Toy Shop, Cincinnati Opera E & OCherubin, IVAI (Tel Aviv)L’elisir d’amore, Cincinnati College Conservatory of MusicAmore e guerra, Opera Theater of Lucca (Italy)
Indra ThomasElisabeth
Minnesota Opera DebutRecentlyDon Carlos, Boston Lyric OperaPorgy and Bess, Live From Lincoln CenterOtello; Il pirata, Caramoor FestivalSimon Boccanegra, San Francisco OperaTurandot, Metropolitan OperaVerdi Centennial, Michigan Opera Theatre
UpcomingAida, Atlanta OperaIl trovatore, Michigan Opera Theatre
Stefan SzkafarowskyGrand Inquisitor
Minnesota Opera DebutRecently
The Tales of Hoffmann; Il trovatore, Washington OperaNabucco; Aida, L’Opéra de MontréalWar and Peace, Metropolitan Opera
The Flying Dutchman, Vancouver OperaLucia di Lammermoor, Teatro Municipal de São Paulo
Luisa Miller, Palm Beach OperaEugene Onegin, Opera Ontario
Nabucco, Teatro Municipal (Santiago, Chile)Macbeth, Manitoba Opera
�������������������� �
���������������
�����������������
�����������������������������������������
�������������������������
���������������
� !"##$ "%%�%���&&�������������������'��� !"##$ "%%�%���&&�������������������'��
���(���) ���������**���+#% +,% +%- +�%+!-
�������.�//����!!$.�$$)#-0�
1����.�//����!!2.�220�
�������.�//����!!3.�220�
������.�//����##-.�$$0�
������������44���
5�� ���������������6����������������� �������"���7������(��
th
e m
inn
es
ot
a o
pe
ra
•20
The Artists For more biographical information about these artists, visit our website at www.mnopera.org
great selection of men’s andwomen’s hard-to-find and popularperfumes and colognes.
At Great Prices!
Elite FragrancesCity Center, Minneapolis • 612.376.9734
Fragrance BoutiqueEden Prairie Center • 952.903.5105
A
James ValentiCount de Lerme
Minnesota Opera Resident ArtistRecently
Grand Prize Winner – Metropolitan Opera Nat’l CouncilLa bohème; Lucia di Lammermoor; Pagliacci; Street Scene;
Turandot, The Minnesota OperaTurandot; The Magic Flute; Il prigioniero,
Opera Festival of New JerseyCandide; Gianni Schicchi, W. Virginia Univ. Opera Theatre
UpcomingOrlando Paladino; Dialogues of the Carmelites;
Cavalleria rusticana/Pagliacci, Glimmerglass Opera
Karin WolvertonCelestial voice
Minnesota Opera DebutLucia di Lammermoor, 2001
RecentlyMasterclass, Park Square TheatreLittle Women; La bohème; others (ensemble),
The Minnesota OperaDialogues of the Carmelites; Le nozze di Figaro;
L’incoronazione di Poppea, U of M Opera TheatreFeatured soloist – U of M Sesquicentennial Celebration
Upcoming2002-2003 Resident Artist, The Minnesota Opera
Hildegard BechtlerSet Designer
Minnesota Opera DebutRecentlyWar and Peace; Peter Grimes; Lohengrin; Boris Godunov,
English National OperaLa Wally, Bregenz Festival; Amsterdam Muziek TheaterSimon Boccanegra, Munich StaatsoperDon Giovanni, Glyndebourne FestivalWozzeck; Katya Kabanova, Opera North
UpcomingLady Macbeth of Mtensk, Opera AustraliaDer Ring des Nibelugen, Scottish Opera
Jeffrey DomotoAssistant Conductor
Minnesota Opera Resident ArtistRecently
Little Women; Lucia di Lammermoor; Pagliacci/Carmina burana; The Barber of Seville; others,
The Minnesota OperaNutcracker Fantasy, Minnesota Dance Theatre
Cover Conductor – Minnesota OrchestraAssistant Conductor – Central City Opera (1999);
Yale Opera; Philharmonia Orchestra of Yale
Alexander FarinoProduction Stage Manager
Minnesota Opera DebutRigoletto, 1995
Recently1996 – 2002 seasons, The Minnesota OperaAcis and Galatea; Central Park; Tosca,
Glimmerglass OperaMadame Butterfly, Opera PacificLa bohème, Los Angeles Opera
UpcomingCandide, Minnesota OrchestraThe Merry Widow, The Minnesota Opera
Tim AlberyStage Director
Minnesota Opera DebutRecently
A Midsummer Night’s Dream; The Merry Widow,Metropolitan Opera
War and Peace; La bohème (Leoncavallo); From the House of the Dead, English National Opera
Die Walküre; Das Rheingold, Edinburgh Festival; Scottish OperaBeatrice and Benedict, De Nederlandse Opera; Santa Fe Opera
Katya Kabanova; Così fan tutte, Opera NorthMacbeth, The Royal Shakespeare Company
CELEBRATE MEMORIAL DAYWITH YOUR COMMUNITYMonday, May 27Ceremony, 10:30 A.M.Activities, 12–4 P.M.at Lakewood Cemetery
3600 Hennepin Avenue SouthMinneapolis, Minn. 55408
(612) 822-2171 · www.lakewoodcemetery.com
CELEBRATE MEMORIAL DAYWITH YOUR COMMUNITY
This year, honor Memorial Day at Lakewood Cemetery with your com-munity. Attend Lakewood’s traditional ceremony featuring gospel music by Robert Robinson and members of the Twin Cities Community Gospel Choir.
Afterwards, spend the day participating in edu-cational activities for all ages, including historical tours of Lakewood, museum-style exhibits about Minneapolis history, live music in Lakewood’s historic chapel and refreshments. All activities are free and open to the public.
21• d
on
ca
rl
os
The ArtistsFor more biographical information about these artists, visit our website at www.mnopera.org
Joseph LawsonChorusmaster
Minnesota Opera DebutDer Rosenkavalier, 2000
RecentlyLa bohème; La clemenza di Tito; Lucia di Lammermoor;
2000-2001 seasons, The Minnesota OperaThe Glassblowers; L’étoile, Glimmerglass OperaOverture 757 (original composition), Carnegie HallCarmen, Tulsa Opera
UpcomingCavalleria rusticana/Pagliacci, Glimmerglass OperaSusannah, Lyric Opera of Chicago
Nicky GillibrandCostume Designer
Minnesota Opera DebutPelléas et Mélisande, 1996
RecentlyA Midsummer Night’s Dream, Royal Shakespeare Company
Hansel and Gretel, Opera NorthThe Queen of Spades, Royal Opera House – Covent Garden
War and Peace, Opéra National de Paris – BastilleBoris Godunov, English National Opera; Canadian Opera Co.
Lady in the Dark, Royal National TheatreSix Characters in Search of an Author, Young Vic TheatreFlight, Glyndebourne; Netherlands Reisopera; Flanders Opera
photo not available
Doug Scholz-CarlsonAssistant Director
Minnesota Opera DebutDer Rosenkavalier, 2000
RecentlyLucia di Lammermoor, Pittsburgh OperaI Capuleti e i Montecchi, New York City OperaMinnesota Shakespeare Festival at Grand MaraisLa bohème; others, The Minnesota OperaForever Plaid, Chanhassen Dinner TheaterGross Indecency; Sweeney Todd, Guthrie TheaterHamlet, Minnesota Shakespeare ProjectHamlet; The Tempest; others, Utah Shakespeare Festival
Tom ManningsLighting Designer
Minnesota Opera DebutRecently
La forza del destino; La traviata; Il barbiere di Siviglia; Carmen,English National Opera; Teatro Liceu (Barcelona)
Der Rosenkavalier, Teatro Real (Madrid)Falstaff, New Israeli Opera
La rondine, Opera NorthPeter Grimes, Bayerische Staatsoper (Munich)
William Tuckett; Jazz Exchange, Royal Opera HouseLe nozze di Figaro, Pimlico Opera
Le nozze di Figaro; Falstaff, Forward Opera
Tom WatsonWig Master and Makeup
Minnesota Opera DebutThe Pearl Fishers, 1986
RecentlyOpera Theatre of St. Louis (season)
Santa Fe Opera (season)The Minnesota Opera (1986-2002 seasons)
Metropolitan Opera (season)Jane Eyre; Dirty Blonde, (Broadway)
UpcomingThe Merry Widow, The Minnesota Opera
Marco ZambelliConductor
Minnesota Opera DebutRecentlyTancredi; Luisa Miller, Teatro San Carlo; rai TelecastFidelio, Opéra de MetzDon Giovanni, Opéra de NiceLa Cenerentola, Hong Kong International Music FestivalMadame Butterfly, New Zealand Opera
UpcomingLa traviata, Teatro La FeniceTancredi, Teatro Regio (Parma); Teatro Comunale (Ferrara);
Teatro Municipale (Piacenza)
When medical break-throughs are uncovered at U of M research labs, who benefits first? Minnesotans, of course.
New therapies pioneered at
the U often give Minnesotans
first chance at benefitting from
a new discovery. That’s reason
enough to support world-class
medical research right in your
own backyard.
Give to support the research
area of your choice. For more
information, call (612) 625-1440
or 1-800-922-1663. Or, visit
www.mmf.umn.edu
MEDICINE AT MINNESOTASUPPORTING MEDICAL RESEARCH AT THE U
Support
world class
medical
research
right in your
own backyard
Interior Design
residentialcommercial
81 S. 9th St.
suite 340
minneapolis
t612.333.0526
w w w . g u n k e l m a n s . c o m
th
e m
inn
es
ot
a o
pe
ra
•22
Dear Friends,
For several years, Rider, Bennett, Egan
& Arundel has enthusiastically spon-
sored The Minnesota Opera’s Camerata
Dinners. These pre-performance dinners
provide an elegant and fun atmosphere
at which The Minnesota Opera’s most
passionate supporters can get together to
eat, drink, talk opera, talk shop, or just
talk about life.
Invitations to the Camerata Dinners are
o∂ered to all members of the Camerata
Circle—those individuals who con-
tribute $1,500 or more to the Opera’s
operations. You may be surprised to
know that individual contributions are
the single largest area of financial sup-
port for The Minnesota Opera. To main-
tain a world-class opera company in our
midst, those of us who love the art form
need to support it generously. The Min-
nesota Opera fills each of our lives with
the wonder and thrill of top-quality
opera, from traditional classics like Labohème and Don Carlos to premieres like
next year’s evocative The Handmaid’sTale.
I hope you will consider becoming a
member of the Camerata Circle. If you
already are a member, I hope you’ll con-
sider renewing at a higher level, or mak-
ing an additional gift. Help us keep up
the great work.
R. Thomas Greene, Jr.
Partner; Rider, Bennett,
Egan & Arundel
Minnesota Opera Board of Directors
An invitation to the Camerata Circle
The newest members of the Camerata CircleIn the last year, the following individuals have joined our most generous donors in The Minnesota Opera’s
Camerata Circle. You can become a part of this team of Opera supporters, too.
Eric and Donna AanensonMr. John Andrus IIIMartha Goldberg Aronson and Daniel AronsonMartha and Bruce AtwaterAmy and Ford Watson BellRalph and Kathleen CadmusElwood F. and Florence A. CaldwellCharles ClevelandJeff and Barb CoutureDr. Susan and Richard CrockettMary Lee and Wallace DaytonChuck DennyRondi EricksonHenry and Anice FleshLori and Tom FoleyJames FultonChristine and W. Michael GarnerR. Thomas Greene, Jr.Jose Peris and Diana GuldenAlfred and Ingrid Lenz HarrisonDon and Arlene HelgesonRoger W. HollanderElizabeth A. HueyJacqueline Nolte Jones
Stan and Jeanne KaginMichael F. and Gretchen S. KellyLydel and Blaine KingMr. and Mrs. William KlingGerald and Joyce LillquistBenjamin Y.H. and Helen C. LiuLynne LooneyThornton LyfordDavid MacMillan and Judith KrowHarvey T. McLainSamuel and Patricia McCulloughJames and Judith MellingerAlbin and Susan NelsonGlen and Marilyn NelsonLila and Bruce PriebeMr. and Mrs. John C. RowlandMahlon and Karen SchneiderLucy and Mark SearlsStanislaw and Krystyna SkrowaczewskiMrs. Irene G. SteinerDr. Joseph Pashjian and Kay SavikMr. and Mrs. George H. TesarCatie Tobin and Brian NaasTerry Williams and Susan Cogger
Camerata CirclePlatinum: $10,000+For more information about the
Camerata Circle Platinum category,
please call the Development Depart-
ment at 612-342-9565.
Gold: $5,000-$9,999Personal one-on-one lunch with opera
leadership, plus benefits listed in the
Silver category.
Silver: $2,500-$4,999Ticket exchange privileges and seat-
ing priority A, set of five libretti for
the 2002-2003 season, complimen-
tary parking for all five operas (must
be ordered by October 1, 2002), per-
sonal tour of The Minnesota Opera
Center (on request), plus benefits
listed in the Bronze category.
Bronze: $1,500-$2,499Guar an t e ed r e s e rv ed pa rk ing
($7 each), ten passes to a dress re-
hearsal, plus benefits listed in the
Benefactor category.
Artist CircleBenefactor: $1,000-$1,499Invitations to all pre-performance
dinners, recognition in all season pro-
grams, eight passes to a dress re-
hearsal, plus benefits listed in the
Patron category.
Patron: $500-$999Invitation to a pre-performance din-
ner, six passes to a dress rehearsal, in-
vitations to two “Behind the Scenes”
preview dinners at The Minnesota
Opera Center, plus benefits listed in
the Associate category.
Associate: $250-$499Invitation to a “Behind the Scenes”
preview dinner at The Minnesota
Opera Center, four passes to a dress
rehearsal, plus benefits listed in the
Friend category.
Friend: $100-$249Two passes to a dress rehearsal, recog-
nition in one program, 25% discount
on Minnesota Opera adult education
c l a s s e s , s ub s c r i p t i on t o The
Minnesota Opera newsletter, Ovation!
2002–2003 Donor Benefit Packages
23• d
on
ca
rl
os
The Minnesota Opera Chorus
The Minnesota Opera OrchestraViolin IKristen Christensen,
concertmaster David Mickens
Sheila Hanford
Judy Thon-Jones
Andrea Een
Almut Engelhart-Kachian
Dragan Stojkovic
Holly Ager
David Delgado Morán
Elizabeth Brausa
Violin IIJulia Persitz
Elizabeth Decker
Stephan Orsak
Melinda Marshall
Carolin Kiesel Johnson
Margaret Humphrey
Anne Strasser
Miriam Gri∑th
ViolaAnnette Caruthers
Vivi Erickson
Laurel Browne
Jenny Lind Nilsson
Susan Janda
James Bartsch
CelloJim Jacobson
Adriana LaRosa Ransom
Rebecca Arons Goetz
Thomas Austin
Sally Dorer
Joseph Englund
BassJ. Michael Smith
Constance Brown
George Stahl
Michael Watson
FluteMichele Frisch
Amy Morris
Casey Kovacic
OboeMarilyn Ford
Joel Abdella
ClarinetSandra Powers
Nina Olsen
BassoonCoreen Nordling
Laurie Hatcher Merz
Peter Douglas
William Oldfather
HornCharles Kavalovski
Charles Hodgson
Michael Petruconis
Lawrence Barnhart
TrumpetJohn G. Koopmann
Christopher Volpe
Douglas Altilio
Craig Hara
TromboneSteven Lund
Sue Roberts
David Stevens
TubaRalph Hepola
TimpaniKory Andry
PercussionMatthew Barber
Michael Holland
HarpAndrea Stern
BandaTrumpet/CornetRamon F. Vasquez
Joseph Cosgrove
HornThomas Gilkey
Tricia Lerohl
TromboneSteve Hammerschmidt
Craig Stilen
TubaTrygve Skaar
Joe Andrews
Carlos Archuleta*
Robb Asklof
Don Barbee
Bryan Boyce
Anna Brandsoy
Michael Cain
Je∂rey Carlson
Julie Carpenter
Kelvin Chan
Julie Conzemius
Steve Dahlberg
Daniel Eifert
Andy Elfenbein
L. Peter Erickson
Paul Griggsby
Jack Gunderson
April Hanson
Johanna Harley
Kate Haugen
Robin Heggen
Roy Heilman
Sandra Henderson
Dale Hills
Leah Howard
Kathryn Jensen
Georgette Johnson
Matthew Johnson
Brian Jorgensen
Roy Kallemeyn
Naomi Karstad
Ryan Kinsella*
Joe Kolbow
Elizabeth Longhurst
Bryan Maus
Eric Mellum
Chandler Molbert
Julie Olsen
Janet Paone
Steven Pearthree
Dawn Pierce
Christy Pritchard
Ana Romero
Christopher Russell
Scott Sandberg
Steve Sandberg
Joy Scheib
Robert Schmidt
Karen Weaver
Karen Wilkerson
Justin Wilson
Karin Wolverton
Daniel Zeddies
SupernumerariesCountess d’ArembergAmy Matthews
HereticsDavid Touchstone
Kenny Kiser
Amy Matthews
Allison Flamm**
Karen Bowmann**
Resident Artists covering principal roles
Carlos Archuleta – Rodrigue
Matt Boehler – Philippe
Ryan Kinsella – Rodrigue
James Valenti – Don Carlos
* denotes Resident Artist** student of New Breath
Productions
North StarOpera
Where Opera is Always Fun
Everything Sung in English
Richard TraubnerInternationally acclaimed
author and historian
“Operetta: A Theatrical History”Wed., June 5, 6:30 pm
Germanic/American House301 Summit Ave., St. Paul
reservations necessary, 651-224-1640
Countess MaritzaViennese Operetta
Starring Norah Long, Mark Schowalter,
Jennifer Baldwin Pedenand Christina Baldwin Fletcher
June 15 – 23for tickets, 612-343-3390
��
��
th
e m
inn
es
ot
a o
pe
ra
•24
StaffPresident & CEO . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin SmithArtistic Director . . . . . . . . . . . . . . . . . . . . . . . . . . Dale JohnsonGeneral Manager . . . . . . . . . . . . . . . . . . . . . . . . John Humleker
ArtisticArtistic Administrator . . . . . . . . . . . . . . . . . Roxanne Stou∂er CruzArtistic Associate . . . . . . . . . . . . . . . . . . . . . . . . . Floyd AndersonEducation Coordinator . . . . . . . . . . . . . . . . . . . . . Holly CarpenterDramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David SanderProduction Stage Manager . . . . . . . . . . . . . . . . . . Alexander FarinoStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yasmine KissAssistant Stage Manager . . . . . . . . . . . . . . . . . . . . . .Lee HendersonOPERA America Stage Management Fellow . . . . . . . . .Trevore RossResident Artist Music Director . . . . . . . . . . . . . . . . .Bruce StasynaChorusmaster/Head Coach . . . . . . . . . . . . . . . . . . . . Joseph LawsonResident Artist Instructors . . . . . . .Carlotta Dradi-Bauer, Miriam Scholz-Carlson,
Doug Scholz-Carlson, Stuart Pimsler, Nancy TibbettsResident Artists . . . . . Carlos Archuleta, Matthew Boehler, Je∂rey Domoto,
Ryan Kinsella, Laura Loewen, Ana Rodriguez, James ValentiEducation Personnel . . . . . . . . . . . . . . . . . . . Raymond Berg, Peggy Endres,
Kenny Kiser, David Moore, Jonathan Niel, Janet Paone, Joseph Schlefke, Elise Skophammer,
Roger Skophammer, Casey Stangl, Ed Williams, Joan Womeldorf
Mentor Connection participant . . . . . . . . . . . . . . . . . . . .Megan Furman
CostumesCostume Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Gail BakkomAssistant Costume Director . . . . . . . . . . . . . . . . . . . . Beth SandersDrapers . . . . . . . . . . . . . . . Chris Bur, Angela Patten, Yancey ThriftFirst Hands . . . . . . . . . Helen Ammann, Mark Heiden, Valerie HillWig/Makeup Assistants . . . . . . . . . . Jodi Heath, Emily RosenmeierDyer/Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Marliss JensonStitchers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jennifer Dawson,
Jeanne Finch, Stephanie Vogel
SceneryScenic and Lighting Director . . . . . . . . . . . . . . . . . . . . . Tom MaysTechnical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Stuart SchatzScenic Administrator . . . . . . . . . . . . . . . . . . . . . . Holly CarpenterAssistant Lighting Designer . . . . . . . . . . . . . . . . .Nicole SimoneauProperties Master . . . . . . . . . . . . . . . . . . . Stanley Dean HawthorneProperties Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . Mike LongCharge Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael BolinScenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra JensenProduction Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . . . . . . . . . . . . . . . . . . . . Rod AirdCarpenters . . . . . . . . . . . . . . . . . . . . . . . . . Patrick Dzieweczynski,
Mike McQuiston, Steve Rovie
AdministrationController . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Je∂ CoutureOperations/Systems Manager . . . . . . . . . . . . . . . . Steve MittelholtzAccounting Associate . . . . . . . . . . . . . . . . . . . . . . . . Jennifer ThillEvents/Volunteer Coordinator . . . . . . . . . . . . . . . . . . . Sarah CurtisExecutive Assistant . . . . . . . . . . . . . . . . . . . . . . . . Theresa MurrayAdministrative Interns . . . . . . . . . . .Seth Howard, Kirstin Kuchler
DevelopmentDevelopment Director . . . . . . . . . . . . . . . . . . . . . . . . . . Bill VenneInstitutional Gifts Manager . . . . . . . . . . . . . . . . . . . . Jaime MeyerDevelopment Assistant . . . . . . . . . . . . . . . . . . . . . .Vicky EmersonDevelopment Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jen Brune
Marketing/CommunicationsMarketing and Communications Director . . . . . .Glyn NorthingtonCommunications Manager . . . . . . . . . . . . . . . . . . . . . . Lani WillisTicket O∑ce Manager . . . . . . . . . . . . . . . . . . . . . . . . Jason YoungTicket O∑ce Assistants . . .Andrea Corich, Nancy Poechmann, Jessica SteinReceptionist/Information Specialist . . . . . . . . . . . . . . . . Malia Long
Good listening {TAKES PRACTICE.}
Nancy Meeden651.282-9650
Amy Sperling651.282-9615
Independently Owned And Operated By NRT Inc.
Crocus Hill Office
speak to the people beside you…
without saying a word
advertise in this program
Call 612.375.9222Skyway Publications, Inc.
10001 Wayzata Blvd., Minneapolis, MN 55305
Proud publishers of • The Minnesota Opera Program •
Minnesota Orchestra Showcase Magazine • Children’s Theatre
Company Program • Guthrie Theater Magazine • Ordway Center
for the Performing Arts Program • The Saint Paul Chamber
Orchestra Prelude Magazine • Twin Cities Public Television
(TPT) Program Magazine • Northrop Dance Series Program
�
�
�
�
25• d
on
ca
rl
os
Her later heroic e∂orts to save Carlos
with the insurrection are a borrowing
from Eugène Cormon’s 1846 drama,
Philippe II, rather than from Schiller.
The real Eboli provided ample inspira-
tion for both artists. Married to Ruy
Gómez, nearly 20 years her senior, she
bore nine children and still had time for
a∂airs around the court (though there is
no evidence that her lovers included
Philip). Conniving and vain, she sported
a black patch over one eye (either as an
a∂ectation or to cover a physical defor-
mity) and was eventually banished to the
provinces after a particularly scandalous
relationship with a younger man. Verdi
once stated that, next to Philip, Eboli
was his most engaging character.
Though many have tried, no one has
been able to successfully trace the shad-
owy Marquis de Posa to an actual per-
sonage. He is more the embodiment of
Schiller himself and the author’s enlight-
ened principles. It is Posa who is the in-
strument of change, setting into motion
the stagnant relationships that beset the
entrenched romantic triangle of Carlos,
Elisabeth and Philip. Both he and Philip
believe they can change one another and
are frustrated by their bilateral lack of
success.
Schiller’s denouement is naturally
more complex, involving further letters,
court intrigue and veiled misunderstand-
ings. Both artists gave Philip the most
attention, and from Schiller Verdi lifted
practically verbatim the text for
Philippe’s important scenes. He also em-
braced the Shakespearean qualities inher-
ent in Schiller’s work – the impassioned,
brooding, ine∂ective Hamlet brought
into the character of Carlos, and the
loneliness and isolation felt by many a
Shakespearean monarch elaborated upon
by Philippe, who, in his desperation to
find a substitute son, seeks out a danger-
ous revolutionary, only to sacrifice both
to his spiritual father and confessor. Few
moments are more moving than
Philippe’s aria, “Elle ne m’aime pas,”
which so eloquently imparts the burden
of leadership, a sleepless king defending
both a religion put to the test and a do-
minion constantly under siege, who had
never known peace for the entire 42
years of his reign.
Don Carlos (continued from p. 15)
Lonna Mosow’s Center for Mind Body Fitness.6409 City West Parkway • Eden Prairie, MN (952) 941-9448
FROM
JOSEPH
P I L AT E S
S T RO N G A N D S T R E TC H E D.T H E U LT I M AT E W O R KO U T F O R M I N D A N D B O DY
th
e m
inn
es
ot
a o
pe
ra
•26
The Minnesota Opera Fund
The Camerata Circle is The Minnesota Opera’s highest category of personal support. With this designation,we recognize these very special friends for their commitment to the tradition of opera in our community.
Platinum Mrs. Judson BemisMary and Gus BlanchardJudy and Kenneth DaytonDolly J. FitermanJohn and Ruth HussHeinz and Sisi HutterThe Art and Martha Kaemmer Fund of
HRK FoundationPeter J. KingConstance and Daniel KuninPatricia LundThomas and Barbara McBurneyMr. and Mrs. Walter S. MeyersMrs. George T. PennockMary W. Vaughan of
The Minneapolis Foundation
Gold AnonymousMary A. AndresAugust J. Aquila and Emily HaliziwKaren BachmanDavid Hanson and
William BiermaierMr. and Mrs. James BingerRod and Susan Boren Darlene J. and Richard P. Carroll Sally J. EconomonRolf and Nancy EnghN. Bud and Beverly Grossman FoundationAlfred and Ingrid Lenz HarrisonBryce and Paula JohnsonLucy Rosenberry JonesMichael F. and Gretchen S. KellyWarren and Patricia KellyEd and Pat KeransDiana and Joe MurphyMrs. John M. Musser†
Bruce and Sandy NelsonTimothy and Gayle OberJose Peris and Diana GuldenRebecca Rand and
E. Thomas BingerConnie and Lew RemeleMr. and Mrs. Steven RothschildFred and Gloria SewellVirginia L. and Edward C. StringerGregory C. SwinehartTanrydoon Fund of
The Saint Paul FoundationC. Angus and Margaret Wurtele
Silver Anonymous John Andrus, IIIMartha Goldberg Aronson
and Daniel AronsonMartha and Bruce AtwaterPatricia and Mark BauerJoseph and Judy CarlsonWilliam Voedisch and
Laurie CarlsonRachelle Dockman ChaseBurt and Rusty CohenDr. James E. and Gisela CorbettEllie and Tom Crosby, Jr.Rondi Erickson and Sandy LewisMr. and Mrs. John ForsytheConnie Fladeland and Steve FoxLeslie and Alain FréconR. Thomas Greene, Jr.Stephen and Patricia HaynesJay and Cynthia IhlenfeldGerald JohnsonStan and Jeanne KaginLyndel and Blaine KingMrs. James S. Kochiras
Mr. and Mrs. Ted KolderieLynne LooneyLeland T. Lynch and Terry Saario Fund of
The Minneapolis FoundationRoy and Dorothy Ann MayeskeHarvey T. McLainMary Bigelow McMillanRobb and Lynne MorinNelson Family FoundationWilliam and Barbara PearceMarge and Dwight PetersonLila and Bruce PriebeLois and John RogersE. Elaine and Roger SampsonKay Savik and Joe TashjianFrank and Lynda SharbroughRenate M. SharpKevin and Lynn SmithCharles Allen Ward Fund of
The Saint Paul Foundation
Bronze Anonymous (2)Eric and Donna AanensonChloe D. AckmanCordelia Anderson and
John HumlekerAn anonymous gift from a donor advised
fund of The Saint Paul FoundationMr. and Mrs. Edmund P. BabcockMr. and Mrs. Paul G. BoeningRalph and Kathleen CadmusElwood F. and Florence A. CaldwellSusan Cogger and Terry WilliamsDavid and Jane CooperDr. Susan and Richard CrockettMrs. Thomas M. Crosby, Sr.Mary Lee and Wallace Dayton
Cy and Paula Decosse Fund of The Minneapolis Foundation
Lori and Tom FoleyBradley A. Fuller and Elizabeth LincolnChristine and W. Michael GarnerMr. and Mrs. R. James GesellIeva GrundmanisRosalie He∂elfinger Hall Fund of
The Minneapolis FoundationDon and Arlene HelgesonCli∂ton K. Hill and Jody RockwellDorothy J. Horns, M.D. and
James P. RichardsonElizabeth A. HueyJacqueline Nolte JonesMr. and Mrs. William KlingJerry and Joyce LillquistBenjamin Y. H. and Helen C. LiuDavid MacMillan and Judy Krow
James and Judith MellingerTom Murtha and Stephanie LenwayAlbin and Susan NelsonSusan OkieMr. and Mrs. William PhillipsKim and John PuckettNorm Rickeman and Kathy MurphyBurton G. Ross and
Cynthia Rosenblatt Ross Fund of The Minneapolis Foundation
Mr. and Mrs. John C. RowlandLucy and Mark SearlsStanislaw and Krystyna SkrowaczewskiJames V. and Susan W. SullivanMichael SymeonidesMr. and Mrs. George H. TesarCatie Tobin and Brian Naas†deceased
Benefactors Anonymous Kim A. AndersonPaula A. AndersonDr. Thomas and Ann BagnoliAmy and Ford Watson Bell in honorof Elinor W. Bell
Thomas L. and Joyce E. BrucknerDr. and Mrs. Jim BurdineJoann M. D. CierniakJe∂ and Barb CoutureThe Denny Fund of The Minneapolis Foundation
Thomas and Mary Lou Detwiler
Mr. and Mrs. Carl B. Drake, Jr.Joyce and Hugh EdmondsonEster and John FeslerHenry and Anice FleshPatricia R. FreeburgLois and Larry GibsonMr. and Mrs. John F. GrundhoferCharlotte KarlenErwin and Miriam KelenMary L. Kenzie Family FoundationE. Robert and Margaret V. Kinney
Fund of The Minneapolis FoundationLisa C. KochirasMaria KochirasHelen L. Kuehn
Clinton and Judith LeeIlo and Margaret LeppikBill LongThornton LyfordDan and Sue MalinaMargery MartinSamuel D. and Patricia McCullough
Mary McDiarmidMrs. John H. MyersAllegra ParkerKaren B. PaulJodi and Todd PetersonFrances and George ReidKen and Nina Rothchild
Je∂rey Scherer and Lea BabcockDr. and Mrs. Richard J. SchindlerMahlon and Karen SchneiderRalph S. Schneider and Margaret McNeil
Stephanie SimonHelene and Je∂ SlocumJulie Jackley SteinerDon and Leslie StilesLois and Lance ThorkelsonBill Venne and Douglas KlineEllen and Fred WellsNancy and Ted Weyerhaeuser
Corporations and Foundations
Individual Donors
Platinum3MAid Association for Lutherans/
Lutheran BrotherhoodAmerican Express Minnesota
Philanthropic Program on behalf ofAmerican Express Financial Advisorsand American Express Travel RelatedServices Co.
Andersen FoundationBlandin FoundationThe Bush FoundationThe Cargill FoundationDeloitte & Touche
Deluxe Corporation FoundationEcolab FoundationGeneral Mills FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable
FoundationHoneywell FoundationThe MAHADH Fund of HRK
FoundationThe McKnight FoundationMarshall Field’s Project ImagineThe Medtronic FoundationThe Andrew W. Mellon FoundationMinnesota Monthly
Minnesota State Arts BoardNorthwest Airlines, Inc. FoundationReliaStar Financial CorporationRider, Bennett, Egan and ArundelSkyway Publications, Inc.The St. Paul CompaniesTarget Stores, Marshall Field’s and
Mervyn’s with support from theTarget Foundation
TranstopTwin Cities Opera GuildU.S. Bancorp Piper Ja∂ray Foundation
on behalf of U.S. Bancorp PiperJa∂ray
U.S. BankWells Fargo Foundation on behalf of:
Wells Fargo Bank MinnesotaWells Fargo Brokerage ServicesWells Fargo InstitutionalInvestments Lowry HillWells Fargo Private Client Services
West Group
GoldADC Telecommunications, Inc.Bemis Company FoundationDorsey & Whitney Foundation
Individual Donors: The Camerata Circle
th
e m
inn
es
ot
a o
pe
ra
•28
The Minnesota Opera FundCorporations and FoundationsErnst & YoungR. C. Lilly FoundationMcGladrey & Pullen, LLPMcNeely FoundationMoss & BarnettNational City BankAlice M. O’Brien FoundationPricewaterhouseCoopers LLPRahr FoundationRobins, Kaplan, Miller & CiresiSpencerStuartStar Tribune FoundationValspar FoundationXcel Energy Foundation
SilverThe Bayport FoundationBest Buy Children’s Foundation
Boss FoundationChadwick FoundationDellwood FoundationDigital Excellence Inc.Mary Livingston Griggs and Mary
Griggs Burke FoundationThe Nash FoundationThe Casey Albert T. O’Neil FoundationRBC Dain Rauscher FoundationMargaret Rivers FundSchwegman, Lundberg, Woessner &
Kluth, PASit Investment AssociatesTennant FoundationSchool Arts Fund of United
Arts/COMPASU.S. Trust CompanyWenger Foundation
Bronze Faegre & BensonHogan & HartsonHutter Family FoundationLeonard, Street & DeinardMayo FoundationMcVay FoundationMinnesota Mutual FoundationLawrence M. and Elizabeth Ann
O’Shaughnessy Charitable IncomeTrust in honor of Lawrence M.O’Shaughnessy
The Jay and Rose Phillips FamilyFoundation
The Elizabeth C. Quinlan FoundationSt. Croix FoundationCharles B. Sweatt Foundation
Tilka DesignTozer FoundationWalcro Inc.
BenefactorsAlliance Capital ManagementElmer L. and Eleanor J. Andersen
FoundationAthwin FoundationAvedaBrock-White Co., LLCKPMG LLPMarsh USA, Inc.Miller Meester AdvertisingThe Ritz FoundationThe Southways Foundation
These lists are current as of March 31, 2002, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since January 1, 2001. If your name is not listed appropriately, please accept our apologies, and call Bill Venne, Development Director of The Minnesota Opera, at 612-342-9565.
Minnesota Opera SponsorsSeason SponsorU.S. Bancorp Piper Ja∂ray
Gala Dinner SponsorEcolab
Production SponsorsLucia di Lammermoor, U.S. Bancorp Piper Ja∂ray
La clemenza di Tito, American Express MinnesotaPhilanthropic Program
La bohème, Marshall Field’s Project Imagine
Little Women, RBC Dain Rauchser
Camerata DinnersRider, Bennett, Egan & Arundel
Opera Insight LecturesSpencerStuart
Your child is a natural...
The Junior Music Course designed for 4 & 5 year olds by Yamaha, offers a joyful group
activity approach that taps into your child’s natural learning ability and applies it to music.
Basic Musicianship & Keyboard Classes for children 3 1/2 & up.
Celebrating our 30th Anniversary in MinnesotaSchools in Edina & Roseville
Individual lessons in voice, piano, percussion,strings, woodwinds & brass.
�Free Preview Classes�
June 22 & 23 and
August 3 & 4�
New Classes begin theweek of August 19.
612-339-2255www.cyms.ws
Our curriculum includes:SE a r Tr a i n i n g SS i n g i n g SP l a y i n g SC o m p o s i n g
CHILDREN’S YAMAHA MUSIC SCHOOL
th
e m
inn
es
ot
a o
pe
ra
•30
Coming Up: The 2002-2003 Season
Season Tickets Available Now!
Call 612-333-6669