University Opera Theatre presents

SPRING 2013Thursday, April 18 – Saturday, April 20, 7:30 p.m.

Sunday, April 21, 1:30 p.m.Ted Mann Concert Hall

David Walsh, directorSergey Bogza, Benjamin Klemme,

and Erik Rohde, conductors

Fenja AbramsMirjam Fischereder

Tayler GraysonNika Kasiulis*

Celena Ruiz Erin Schleede

Itly Thayieng

* University of Minnesota Theatre Arts and Dance student

FAIRY DANCERS ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

CAST ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

Thursday/Saturday Friday/SundayTheseus Ben Dutcher Ben DutcherHippolyta Stephanie Broussard Stephanie BroussardTytania Lauren Lammers Cassandra KoobOberon Joe Nelson Joe NelsonHelena Shelley Mihm Carrie HallHermia Sidney Walker Brennan BlankenshipLysander Joseph Okell Joseph OkellDemetrius Will Bryan Justin SpennerBottom Stephen Cunningham Stephen CunninghamFlute Zachary Colby John GrauQuince Tim Murray Tim MurraySnout Jason J. Hernandez Jason J. HernandezStarveling Robert Riordan Robert RiordanSnug Tyler Strobel Tyler StrobelCobweb Julia Ennen Julia EnnenPeaseblossom Elizabeth Windnagel Elizabeth WindnagelMustardseed Patricia Martin Patricia MartinMoth Kristin Elliott Kristin ElliottPuck Ebenezer Keane-Rudolph Ebenezer Keane-RudolphBoy Abbott Sherwin Abbott Sherwin

Benjamin Klemme, conductor Act ISergey Bogza, conductor Act IIErik Rohde, conductor Act III

David Walsh, directorChris Johnson, set and lighting design

Julie Rithaler, costume, wig and hair designPhillip O’Toole, sound design

Angharad Davies, choreographyLara Bolton, head musical coach

Bea Hasselmann, Metropolitan Boys Choir directorJay Carlson, stage manager

COVERTytania Elizabeth Windnagel

ORCHESTRA - ACT I |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||Benjamin Klemme,

conductor

FluteHyun Jin ChoYung-han Li

OboeEmily Olson

ClarinetKristina MeanleyCole Hanson

BassoonEmma Plehal

HornMartin Worley-MyersLaurel Bergland

TrumpetBenjamin Alle

TromboneJohn Sens

PercussionMark EngelmannJeremy Johnston

HarpAnastassia LeavittMary Miller

HarpsichordJoseph WelchSeulgee Lee

Violin IZachary SaathoffKathryn PalkkiRebecca JacksonHannah HowlandJonathon Winter

Violin IISila GundilierJames Zabawa-

MartinezBrenna CareyCindy MinYukina Ono

ViolaJessica JasperMatthew MindemanZoë Makila

VioloncelloNathaniel YaffeLuke DarvilleRosalind LeavellJeesoo Park

BassBreyen CoffinLewis Heald

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Jameson BernhagenGabriel CederbergJeremiah CoxRiley EddinsAnsel ErolCamilo FerreiraXavier Golden

Nick GourleyKieran HartEthan JacobsonIsaiah JohnsonJoseph KlinkerThomas KlinkerTravis Long

Ryan MuschlerJia QinJayden QuadererMatthew RynkiewiczAaron StulbergAdonis SwiftCooper Thomson

METROPOLITAN BOYS CHOIR |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

Fairy Dancers are members of the Saint Paul Conservatory for the Performing Arts

opera.umn.eduUniversity of Minnesota School of Music

ARTISTIC STAFF ||||||||||||||||||||||||||||||Director/Producer David WalshSupervising Conductor/ Mark Russell Smith

Director of Orchestral Studies

Conductor Act I Benjamin KlemmeConductor Act II Sergey BogzaConductor Act III Erik RohdeSet Design Chris JohnsonCostume/Hair Design Julie RithalerMake-Up Design Aidyl FonsecaChoreographer Angharad DaviesRehearsal Assistant to Patricia Stachowicz

the ChoreographerProps Master Sarah BrandnerHead Music Coach Lara BoltonMusic Coaches/ Joseph Welch

Rehearsal Pianists Seulgee LeeChorus Master Bea HasselmannVideo Design Kevin ObsatzSurtitle Design David WalshOpera Theatre Jennifer Olson

Teaching Assistant

SPECIAL THANKS |||||||||||||||||||||||||||James A. Parente, Jr.,

College of Liberal Arts DeanDavid Myers, School of Music DirectorSchool of Music StaffSari Baker and Ted Mann Concert Hall StaffU of M Theatre and Dance Department

(Marcus Dilliard, Faculty Mentor)School of Music Voice FacultyThe ECCO program

(Adriana Zabala, Coordinator)The Minnesota Opera

PRODUCTION/TECHNICAL STAFF |||||||||||||||||||||||||||||||||||||||||||||||||Communications Manager Lisa MarshallGraphic Designer Jennifer SchmittAudience Services and Val Stedman

Special Events CoordinatorAssistant House Manager scottie hallTechnical Coordinator Sari BakerMaster Electrician Jessica SolinskyStage Manager Jay CarlsonAssistant Stage Manager Macayla WillisTechnical Director/ John Lutz

Assistant Set DesignerDeck Manager Nancy HakomakiLight Board Operator Dennis MacAvaneyMedia Technician/ Lindsay Woolward

Run CrewTechnical Coordinator/ Phillip O’Toole

Audio EngineerAudio Engineer Nakita SheddAssistant Audio Engineer/ John Marks

Technical Services SpecialistVideographer Andrew Kishel

Ye ChenSurtitle Operator Qing YangLighting and Nick Cotta

Load-In Crew Anna Courchaine Kirsten Delaney Caleb Draves Nancy Hakomaki Dennis MacAvaney Alex McCormick Eric McElrath Daniel Mleynek Josh Rocky Holly Streekstra Chris Taylor Jack Tillman

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thank you

Twin Cities Opera Guild

Stanley and Henrietta Palmer Fund

Hella Hueg

Craig and Janet Swan

ORCHESTRA - ACT II ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

ORCHESTRA - ACT III |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

Sergey Bogza, conductor

FluteJames DeVollKatie Anne Kohler

OboeLindsey Thompson

ClarinetSarah Porwoll-LeeAriel Pry

BassoonJoshua John

HornMark BillingsleyClaire Volna

TrumpetJonathan Brandt

TromboneBrandon McQuaid

PercussionErik ScheeJeremy Johnston

HarpAnastassia LeavittMary Miller

HarpsichordJoseph WelchSeulgee Lee

Violin IHillary KingsleyAngelika StrubMeredith VaughanRandall ManningKari Mattson

Violin IISamuel SchoenwaldEloise JosEric BateMegan PoppeKelby Thone

ViolaEmma HugheyLuke HubbardAnna HareBenjamin Eide

VioloncelloChrista SaegerMisol DoRosa Thompson-

VieiraEmma Childs

BassMartin KapschNathan Shrader

Erik Rohde, conductor

FluteAlexandria ZunkerEunji Jin

OboeColton Cox

ClarinetJames HodgesAnastasiya Nyzkodub

BassoonJeff Marquardt

HornLogan ArndtSandor Miko

TrumpetNoah Ophoven-

Baldwin

TromboneMarissa Penner

PercussionKathryn YuillJeremy Johnston

HarpAnastassia LeavittMary Miller

HarpsichordJoseph WelchSeulgee Lee

Violin IAlexander CorbettVolkan Can CanbolatTing-Ting YenCarrie BeislerMelissa Deal

Violin IIMikki JohnstonAmy WeiHannah SchendelRobert NordstromKatie Aiuppa

ViolaSean DostalHaley ClintonPatrick Gallagher

VioloncelloEric GrafCharles AschRachelle SmithAnne GoedtkeReuben Verdoljak

BassMatthew McIntyreJohn Rupsch

opera.umn.eduUniversity of Minnesota School of Music 76

ACT II While Tytania sleeps peacefully nearby, the Rus-tics, unaware of her presence, return to rehearse their play. Prompted by Bottom, they begin to discuss some of the problems which could arise in the course of their presentation. At Bottom’s urging, they agree to precede the performance with a prologue which would reassure the audi-ence about the apparently “serious” events of the drama by explaining, in effect, that their play is just – a “play”! As they start rehearsing, Puck arrives on the scene, surprised to find that such rough hewn mortals have invaded the private sphere of the fairy Queen, Tytania. He decides to have some sport with them. When Bottom leaves the stage following his first scene, Puck transforms his head into that of a donkey. Bottom is unaware of the prank and returns to find his comrades horrified at this “translation”. They run off in terror leaving him confused and anxious. He is convinced they are deliberately playing a trick on him. To reassure himself until they return, he begins to sing loudly.

Bottom’s “rustic” ditty awakens Tytania who, under the enchantment of Oberon’s love potion, instantly falls in love with him. She draws him into her bower and commands the fairies to at-tend and wait on him. Bottom loses his initial discomposure and eventually makes himself right at home among his fairy admirers. After some vigorous dancing with the elfin spirits, he and Tytania fall rapturously asleep. Puck

brings Oberon to view the spectacular success of his revenge but Oberon’s initial satisfaction is quickly dispelled by the arrival of Demetrius still chasing Hermia, who is now separated from Lysander. He realizes that Puck has applied the flower’s juice to the wrong “Athenian”. As Hermia runs off and Demetrius momentarily yields to exhausted sleep, Oberon takes the opportunity to daub the flower potion on his eyes. Moments later, Helena arrives with Lysander desperately pursuing her. Demetrius awakens and exultantly pours out his love for Helena. Neither man can comprehend the other’s infatuation with the bewildered Helena, who feels she is the butt of some shameful mockery. When Hermia comes upon the scene, she is astonished to see both Demetrius and her Lysander proclaiming their love for Helena. Recriminations fly on all sides before Demetrius and Lysander leave to settle their claim on Helena with a duel and the enraged Hermia chases Helena further into the forest. Oberon chastises Puck for having created the whole catastrophe and orders him to sort it out. Puck draws a veil of mist over the woods and succeeds in separating Lysander and Demetrius. Gradually all four lovers return to the grove and collapse in exhaustion. Puck drops juice from the “antidote” flower onto the eyes of Lysander that will restore his love for Hermia when he awakens. The fairies reappear and celebrate the reconciliation of the lovers as a full moon bathes the scene in transcendent light.

SYNOPSIS ||||||||||||||||||||||||||||||||||||||||||||ACT I In the forest near Athens, fairies begin their midnight revels as they await the arrival of their mistress, the fairy queen, Tytania. Their joy is short-lived as the trickster, Puck, announces the approach of Oberon, King of the Fairies. Oberon and Tytania have been at odds for some time over his demand that she relinquish to him a young “Indian” boy whom he wishes to have in his service. Tytania refuses his request yet again and departs with the fairies. Piqued by her intransigence, Oberon determines to punish her by casting a malevolent spell on her. He com-mands Puck to procure him the magic flower whose potion he will use to effect his revenge.

As they depart, the first of the “lover” couples stumble into the grove. Hermia and Lysander have fled the city to escape a death sentence that has been imposed on her for refusing to marry Demetrius, another young Athenian who is passionately enamoured of her and the man her father has chosen to be her husband. Lysander is beside himself with desire for Hermia but she makes him swear a vow to lover her eternally before they proceed further into the depths of the forest.

Oberon returns and, while waiting for Puck to bring him the flower, observes (unseen by the “mortals,” of course) a violent altercation between Demetrius and Helena. These two had been lovers formerly, until he encountered Hermia and instantly became infatuated with her. Helena has learned of Hermia’s elopement with Lysander and informed Demetrius – perhaps in the hope that he finally would relinquish his claim on her. Instead, Demetrius races af-ter Hermia and Lysander, with Helena in hot pursuit (of him!). When Demetrius thrusts Helena roughly aside and continues his search for Hermia, Oberon decides to assist Helena in winning back his love. He charges Puck with sprinkling the magic flower’s love potion on the eyes of a “young Athenian man” he will find wandering in the forest. Oberon is referring to Demetrius, of course.

Led by Quince, an amateur troupe of vaudevillians known as the “Rustics” appear in the grove. They are planning to offer a play for presentation at the nuptial celebrations in honour of the marriage of the Athenian Duke and Duchess, Theseus and Hippolyta. They intend to perform the romantic tragedy Pyramus and Thisbe. As Quince allocates the roles, one of their group, Bottom, is restrained only with great difficulty from assuming all the roles himself. Each “actor” receives his text and they agree to meet for rehearsal later that evening.

Lysander and Hermia have made their way further into the forest but, in the dark, have become thoroughly disoriented and are going in circles. Hermia, in particular, is exhausted, so they decide to rest where they are for the night. It is clear that Lysander desires to “sleep” with her but Hermia compels him to lie alone a short distance from her. Puck comes upon the inert Lysander and, mistaking him for Demetrius, drops the flower’s juice on his eyes. Meanwhile Demetrius and Helena rush in abruptly. Once again, he thrusts her brutally aside and continues his obsessive quest for Hermia. Helena is too tired to follow but suddenly discovers the prone body of Lysander. Approaching him cautiously, she is overwhelmed by his outburst of passion for her as he awakens to find her standing over him. Helena is incensed at what she regards as inappropriate behavior from him, since she knows he is in love with Hermia, and accuses him of mocking her. Lysander abandons the still sleeping Hermia and runs after Helena. Moments later, Hermia awakens and, realizing she is alone, cries out in terror. She hurries into the deepening gloom of the woods to find her beloved Lysander. The lovers seem to be in a state of chaos and their destinies on collision course.

As stillness settles over the forest, Tytania and her fairies emerge. To the strain of a beautiful lullaby, Tytania falls gently asleep. Oberon steals out of the darkness and drops the love potion on her eyes. He prays that the first creature she espies on awakening will be something loathsome and ignoble. As Tytania slumbers, Oberon takes the prize he has sought from her with him.

opera.umn.eduUniversity of Minnesota School of Music

Musical Theatre Workshop (SMT) which has run successfully every August since 2003. Through SMT, for example, talented high school students have been brought in contact with the School of Music and its various programs. Many of these students have chosen to attend this University following high school graduation—either in the Department of Theatre Arts and Dance or the School of Music. One young student, Laurent Kuenhl, sang lead roles in two UOT productions before graduating in 2011.

Through these outreach ventures I have come in contact with some very dedicated teachers working in music in the Twin Cities education system. Among these are Paul Wigley at Lakeville High School and Nicole Marschall at Burnsville and Eagan High Schools. In fall 2009, Nicole took on the task of putting together a small chorus of high school students to sing the very challenging choral music for Stravinsky’s Le Rossignol in our mainstage production. In the same production, 12 students from St. Paul Conservatory for Per-forming Artists participated as part of the dance ensemble, joining forces with 12 students from the University of Minnesota Theatre and Dance Department in the first such collaboration in a University Opera Theatre performance. With support from the School of Music’s Engaged Department grant, University Opera Theatre has been able to appoint Nicole Marschall to

the position of Choral Director for our Opera Theatre productions on an ongoing basis.

Last spring, University Opera Theatre presented the dramatic cantata Parables in collaboration with our choral program, and the St Paul Conservatory for Performing Artists which provided 12 dancers and the choreographer for the production. At the same time, we undertook an educational project in 6 area high schools around the themes of Parables, held a public forum on the issues raised by the work which composer Robert Aldridge and librettist Herschel Garfein attended, and we incorporated performing groups representing the three major religions into our presentation of the cantata itself.

Such initiatives are truly win-win situations – for the School of Music and University Opera The-atre, for Nicole Marschall and the high schools she represents, and for the St Paul Conservatory for Performing Artists. Most particularly, though, it is the young students and their families, as well as the many other community members who participate in UOT activities, who have an op-portunity to discover what the School of Music can offer them in terms of musical education and experience.

—David Walsh, Director of University Opera Theatre

ACT III As day breaks, Oberon is discovered observing his fairy Queen wrapped in the arms of the transformed Bottom. He decides to release both Tytania and Bottom from their enchantment. Tytania awakens and is repelled by the sight of her erstwhile lover. Oberon and Tytania, now reconciled to one another, trip away with the rest of the fairies to the gentle strains of a sara-bande. The lovers are the next to awaken and are happy to be restored to their original pairing, although amazed and unsure as to how it has all transpired. They depart to plead their case(s) for marriage with the Duke of Athens. Bottom is the last to arise, similarly confused, but also exhilarated by the dream he has experienced. He determines that he will turn it into a play, despite being fuzzy about the details. The other vaudevillians return and are overjoyed to find Bottom restored to his normal self! With his usual aplomb, Bottom asserts that their “play is preferred” and will be performed. The troupe, assisted by the fairies, prepare their costumes and props for the performance.

Returning from their wedding nuptials, the Duke and Duchess of Athens arrive in the grove on their way to the palace. They are surprised to find the lovers now amicably reconciled to one another. Demetrius no longer lays claim to Hermia so Theseus overrules the wish of Hermia’s father. Each couple is granted permis-sion to marry. The law is shown to be rigorous but fair under his rational, pragmatic approach to governance. The Rustics present their play for consideration as the entertainment for the evening. Ever the statesman, Theseus overrides even his wife’s objections, and orders the play to be performed. As he points out, the amateur troupe is well-intentioned and thus deserving of the opportunity to honour their patron. The performance of Pyramus and Thisby is hilari-ous, of course, and is accompanied by a certain amount of heckling and commentary from the bemused lovers. They fail to realize that the tragic story could have been their own – had fate, and the fairies, not intervened. The play is followed by a bergamasque and revels in which everyone, regardless of social class, participates

equally. When the bells toll the midnight hour, Theseus brings the festivities to an end and the aristocratic couples all retire blissfully to bed.

Oberon, Tytania and the fairies drift serenely through the grove to bless the pairs of lovers. As they depart to celebrate the night, Puck is left to address the audience. He begs forgiveness for having offended their sensibilities with the machinations of the plot and expresses the wish to remain friends.

—David Walsh, Director of University Opera Theatre

DIRECTOR’S CORNER |||||||||||||||||||||Shakespeare’s play eschews character development for an intense probing into the nature and psy-chology of desire. The fairy world, representative of the capriciousness and amorality of passion, our unconscious at work upending our efforts to order the world according to rational principles, appears simultaneously benevolent and cruel. Britten’s tonal world complements this ambiguity with textures that are both hauntingly beautiful and disturbingly edgy. In the opera, we begin and end in the world of the fairies, the realm of dreams and secret impulses, at the frontier between night and day, waking and dreaming, the natural and the supernatural. As we journey through this Midsummer Night, the Dream seems to be the only reality.

—David Walsh, Director of University Opera Theatre

UNIVERSITY OPERA THEATRE & COMMUNITY ENGAGEMENT ||||One of the central components of the opera program since my arrival in 2002 has been out-reach activity in the Twin Cities cultural and education community. Very early in my tenure here, I secured the support of the Twin Cities Opera Guild for special educational projects—community concerts, student dress rehearsals, school workshops and especially for Summer

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opera.umn.eduUniversity of Minnesota School of Music

ARTISTIC STAFF BIOGRAPHIES ||||

DAVID WALSH DIRECTORDirector of University Opera Theatre (2002-current). Recently: Director of La Bohème (Deutsche

Oper am Rhein, Düsseldorf ), Fidelio (Paris Opera; L’Opera de Lyon; Tokyo Festival, Japan; Israeli Opera, Tel Aviv), La Traviata, Carmen, and A Midsummer Night’s Dream all for Deutsche Oper-am Rhein.

MARK RUSSELL SMITH SUPERVISING CONDUCTORUniversity of Minnesota Orchestral Studies artistic director, Quad City Symphony Orchestra Music direc-

tor/conductor, Richmond Symphony Orchestra music director. Recently: Guest conductor of St. Louis Symphony, the Houston Symphony, The Saint Paul Chamber Orchestra, Minnesota Orchestra’s Sommerfest.

BENJAMIN KLEMME ACT I CONDUCTORBenjamin Klemme studies con-ducting with Mark Russell Smith and holds degrees from the Cleve-

land Institute of Music and University of North-ern Iowa.  He has served the National Repertory and Cleveland Pops Orchestras as Assistant Con-ductor, Santa Fe Youth Symphony Association as Music Director, and New Mexico School for the Arts as Music Department Chair.

SERGEY BOGZA ACT II CONDUCTORRussian born conductor and com-poser Sergey Bogza is the conductor of Campus Orchestras and assis-

tant conductor of University Opera Theater. He is pursuing a doctoral of musical arts in Orchestral Conducting under the direction of Mark Russell Smith. He has earned a master’s of music in orchestral conducting from Central Washington University and a bachelor’s degree in music education from Portland State University. Future engagements include leading concerts at The International Conductors’ Festival (Kiev,

Ukraine) and conducting The Berlin Sinfonietta at the International Masterclasses Berlin (Berlin, Germany).

ERIK ROHDE ACT III CONDUCTORConductor and violinist Erik Rohde is a doctoral candidate in conducting, currently studying

with Mark Russell Smith. He holds master’s and bachelor’s degrees from the U of M in orchestral conducting, violin performance and biomedical engineering. He currently conducts the Buffalo Community Orchestra and teaches at the Trinity School in St. Paul.

CHRIS JOHNSON SET DESIGNRECENTLY: Has worked with University Opera Theatre on and off since 1981. The Mass, The Ballad of Baby Doe, Letters from Morocco, Street Scene, and Dangerous Liaisons.

JULIE RITHALER COSTUME, WIG, AND HAIR DESIGNBorn and raised in London, Eng-land. Under the label: Julie Ann

Design, designs costumes for competitive dance, skating, and musical theatre/opera productions both locally and internationally. Rithaler started her own business in 1993 and since has designed costumes for more than 40 musical and opera productions, 23 internationally.

BEA HASSELMANN METROPOLITAN BOYS CHOIR DIRECTOR

JAY V. CARLSON STAGE MANAGERJay V. Carlson is a senior theater major at Northwestern College in St. Paul, MN. Carlson has stage

managed many productions at Northwestern College, including Side Show, How to Succeed in Business Without Really Trying, and The Boys Next Door. Other credits include: Skylark Opera Company: Mme. Modiste, Wonderful Town, The Vagabond King, and On the Town. Theatre for the Thirsty: Kingdom Undone.

ANGHARAD DAVIES CHOREOGRAPHERAngharad Davies has performed around the world with artists including Gibney Dance (NYC),

Hanna Hegenscheidt (Berlin), Netzwerk AKS (Austria), Mariano Pensotti (Buenos Aires), and Chris Yon (MPLS). Her choreography has been presented throughout the U.S. and Germany, and she is currently a lecturer at the Univer-sity of Minnesota. For upcoming projects visit angharaddavies.net.

SINGER BIOGRAPHIES |||||||||||||||||||

BENJAMIN DUTCHER THESEUSOTHER: Cosi fan tutte (Guglielmo), Into the Woods (Cinderella’s Prince, Wolf ), La Divina (Matthew), A

Hand of Bridge (David)

STEPHANIE BROUSSARD HIPPOLYTA

LAUREN LAMMERS TYTANIAUMN: Sister Carrie (Lola), Così fan tutte (Despina), Die Fledermaus (Adele), Die Zauberflöte (Papa-

gena), Jenůfa (Jano)OTHER: Il Mondo della Luna (Clarice), The Vaga-bond King (Chorus).

CASSANDRA KOOB TYTANIAUMN: Falstaff (Nanetta cover), Die Zauberflöte (Papagena), Le rossignol (Nightingale cover), Jenufa (Jano)

OTHER: Madama Butterfly (Geisha), Romeo et Juliette (Chorus), Lucia di Lammermoor (Chorus), Sisters of Swing (Patty Andrews)

JOSEPH NELSON OBERON

SHELLEY MIHM HELENA

CARRIE HALL HELENAUMN: UMN Opera Workshop: Don Giovanni (Donna Elvira), Le Nozze di Figaro (Countess and

Susanna), Street Scene (Ann Murrant), Die Fleder-maus (Rosalinde), Die Zauberflöte (Second Lady)OTHER: Mill City Summer Opera: I Pagliacci (Nedda, cover), Opera NUOVA: Le Nozze di Fi-garo (Marcellina), The Light in the Piazza (Franca)

SIDNEY WALKER HERMIA

UMN: Così fan tutte (Dorabella); Die Fledermaus (Orlofsky)

OTHER: Dido et Aeneas (Dido); George M! (Ag-nus); Il Barbiere di Siviglia (Rosina Cover)

BRENNAN BLANKENSHIP HERMIAUMN: Falstaff (Meg)OTHER: I Pagliacci (Chorus), Little Women (Jo March), The Magic Flute

(The Third Spirit).

JOSEPH OKELL LYSANDERUMN: Parables (Tenor soloist), Così fan tutte (Ferrando), Elmer Gantry (Eddie Fishlinger), Die Zauberflöte

(Tamino), Renard (First Hen).OTHER: Pagliacci (Second Villager/Chorus), Elijah (Tenor soloist), Te Deum (Tenor soloist), Gianni Schicchi (Gherardo), Sweeny Todd (Anthony), The Stoned Guest (Don Octave).

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WILL BRYAN DEMETRIUSUMN: Falstaff (Ford), Parables (Baritone Soloist), Rosencrantz and Guildenstern are Dead (Ros-

encrantz), Cosí Fan Tutte (Guglielmo), Elmer Gantry (Elmer Gantry), Weisse Rose (Hans Scholl), Die Zauberflöte (Erster Priester)OTHER: Once Upon a Mattress (Sir Harry), Wonder-ful Town (Wreck), Mademoiselle Modiste (François), Oklahoma! (Curly), The Vagabond King (François Villon, The Captain), Sweeney Todd (Anthony), The Marriage of Figaro (Count Almaviva), Carmen (El Remendado)

JUSTIN SPENNER DEMETRIUSUMN: Falstaff (Ford cover)OTHER: Il barbiere di Siviglia (Fio-rello cover), Pagliacci (Chorus)

STEPHEN CUNNINGHAM BOTTOMUMN: Così fan tutte (Don Alfonso) OTHER: Gianni Schicchi (title role), A Midsummer Night’s Dream (Bot-

tom), Roméo et Juliette (Paris), Le Nozze di Figaro (Antonio).

ZACHARY COLBY FLUTEUMN: Die Fledermaus (Alfredo), Elmer Gantry (Frank), Workshop of Sister Carrie (Charles Drouet).

OTHER: Die Zauberflöte (Monostatos), Falstaff (Caius), Carmina Burana (Tenor Soloist).

JOHN GRAU FLUTEUMN: Parables (chorus), Die Fle-dermaus (Dr. Blind)OTHER: The Magic Flute (Tenor

Priest), St. John Passion (Evangelist), Così fan tutte (Ferrando), A Little Night Music (Henrik), Mozart Requiem (Tenor Soloist), Messiah (Tenor Soloist).

TIM MURRAY QUINCEUMN: Parables (Chorus), Elmer Gantry (Chorus)OTHER: Hamlet (Chorus), The

Vampire! - Centennial Showboat (Andrew), The Rover (Biskey), Much Ado About Nothing (Clau-dio), Guys and Dolls (Nicely-Nicely Johnson)

JASON J. HERNANDEZ SNOUTOTHER: Minnesota Opera Chorus: Nabucco, Silent Night, Orfeo ed Euridice, La Cenerentola, Rigoletto,

Turandot, The Capulets and Montagues, The Hand-maiden’s Tale, Carmina Burana, Il Pagliacci, La Traviata, The Flying Dutchman, Skylark Opera: The Vagabond King, Mixed Precipitation Picnic Opera: Alcina (Oronte), Thursday Musical Per-forming Artist

ROB RIORDAN STARVELING

TYLER STROBEL SNUGUMN: Parables (chorus)OTHER: Nabucco (chorus)

JULIA ENNEN COBWEBUMN: Sister Carrie (Chorus)

ELIZABETH WINDNAGEL PEASEBLOSSOMUMN: Parables (chorus), Cosi fan Tutte (chorus), Die Fledermaus (chorus), Elmer Gantry (chorus),

Magic Flute (chorus)

PATRICIA MARTIN MUSTARDSEEDUMN: Falstaff (Robin)

KRISTIN ELLIOTT MOTH

EBENEZER KEANE-RUDOLPH PUCK

ABBOTT SHERWIN BOY

METROPOLITAN BOYS CHOIR |||||

The Metropolitan Boys Choir was founded in 1971 by music director, Bea Hasselmann. The boys, ages 5 to 16, come from the twelve-coun-ty Metropolitan area. The MBC choirs have performed with numerous local and national major orchestras, opera companies, ballet com-panies and shows. They have appeared at many local/ national conventions. They have sung for every Minnesota major league sports team and also a Super Bowl. The choirs have toured to 42 US states including Alaska and Hawaii and 19 foreign countries. Recruiting and additional information: www.mbchoir.com

Music Theatre at Minnesota is supported by a generous grant from

the Twin Cities Opera Guild.

David Walsh, Artistic DirectorAugust 5 – 17, 2013

Contact David Walsh at walsh057@umn.edu.

A summer music theatre experience for

ages 14 to 21

opera.umn.eduUniversity of Minnesota School of Music 1514

The School of Music sincerely thanks those individuals, families, and organizations whose gifts support the education and career development of student musicians. If you are interested in contributing financially to high-quality education for the next generation of professional musicians at the University of Minnesota, please contact Joe Sullivan, development officer, at 612/624-8573, or jmsulliv@umn.edu.

Thank you for your support.

Benjamin Alle, Berneking Fellow

Logan Arndt, Bemis Fellow

Charles Asch, Berneking Fellow

Carrie Beisler, Berneking Fellow

Laurel Bergland, Groth Scholar

Mark Billingsley, Berneking Fellow

Brennan Blankenship, Berneking Fellow

Sergey Bogza, Sample Fellow

Jonathan Brandt, Berneking Fellow

Stephanie Broussard, Pond Scholar

Volkan Can Canbolat, Berneking Fellow

Hyun Jin Cho, Berneking Fellow

Breyen Coffin, Gilombardo Scholar

Alexander Corbett, Graduate School Fellow

Colton Cox, School of Music Scholar

Stephen Cunningham, Graduate School Fellow

Luke Darville, Berneking Fellow

Sean Dostal, Graduate School Fellow

Ben Dutcher, Dwan Scholar

Kristin Elliott, Palmer Scholar

Mark Engelmann, Lehnerts Scholar

Patrick Gallagher, Bagley Scholar

Eric Graf, Dahl Scholar

Sila Gundilier, Dahl Fellow

Carrie Hall, Berneking Fellow

Cole Hanson, Batzli Scholar

Anna Hare, Roth Scholar

Lewis Heald, Berneking Fellow

Jason J. Hernandez, Dwan Scholar

Hannah Howland, Zelle Scholar

Luke Hubbard, Dahl Fellow

Emma Hughey, Berneking Fellow

Jessica Jasper, Berneking Fellow

Eunji Jin, Graduate School Fellow

Joshua John, Lehnerts Fellow

Jeremy Johnston, Graduate School Fellow

Mikki Johnston, Torp Fellow

Eloise Jos, Berneking Fellow

Benjamin Klemme, Sample Fellow

Katie Anne Kohler, Oberhoffer Scholar

Lauren Lammers, Berneking Fellow

Rosalind Leavell, Berneking Fellow

Anastassia Leavitt, Batzli Scholar

Yung-han Li, Berneking Fellow

Randall Manning, Dahl Scholar

Jeff Marquardt, Berneking Fellow

Kari Mattson, Dahl Scholar

Kristina Meanley, Lehnerts Fellow

Sandor Miko, Benson Scholar

Mary Miller, Lehnerts Scholar

Cindy Min, Graduate School Fellow

Matthew Mindeman, Berneking Fellow

Anastasiya Nyzkodub, Lehnerts Fellow

Joseph Okell, Berneking Fellow

Emily Olson, Berneking Fellow

Noah Ophoven-Baldwin, Liljentople-Wejnarth Scholar

Kathryn Palkki, Berneking Fellow

Marissa Penner, Graduate School Fellow

Emma Plehal, Lehnerts Fellow

Megan Poppe, Dahl Scholar

Ariel Pry, Oberhoffer Scholar

Robert Riordan, Pierce Scholar

Erik Rohde, Sample Fellow

John Rupsch, School of Music Scholar

Christa Saeger, Berneking Fellow

Erik Schee, Lehnerts Scholar

John Sens, Berneking Fellow

Rachelle Smith, Borgman Scholar

Justin Spenner, Cohen Fellow

Angelika Strub, Dahl Scholar

Lindsey Thompson, Graduate School Fellow

Kelby Thone, Jung Scholar

Claire Volna, Sorenson Scholar

Sidney Walker, Argento Fellow

Amy Wei, Berneking Fellow

Elizabeth Windnagel, Pond Scholar

Jonathon Winter, Jung Scholar

Nathaniel Yaffe, Berneking Fellow

Ting-Ting Yen, Berneking Fellow

Kathryn Yuill, Lehnerts Scholar

Alexandria Zunker, Berneking Fellow

Peter Moore Stages the Peter Moore Stages the

MELODRAMA!MELODRAMA!

Vern Sutton Directs the Vern Sutton Directs the

MUSICAL OLIOS!MUSICAL OLIOS!

“ A P E R F E C T M I N N E S O T A S U M M E R E V E N I N G ! ”

HARRIET ISLAND ST PAULHARRIET ISLAND ST PAUL

SHOWBOAT.UMN.EDU · 651-227-1100SHOWBOAT.UMN.EDU · 651-227-1100JUNE 13 JUNE 13 throughthrough AUGUST 24AUGUST 24

FALL 2013

The Bartered BrideComposed by Bedřich Smetana

Libretto by Karel Sabina

SPRING 2014

The Cunning Little VixenComposed by Leoš Janáček

Libretto adapted from novella by Rudolf Těsnohlídek and Stanislav Lolek

Complete season information coming soon!Visit opera.umn.edu to stay in the loop.

The School of Music, a unit of the College of Liberal Arts, is a leading institution for the education of successful performers, composers, teachers, admin-istrators, and scholars, The School interacts with the larger university and Twin Cities communities through classes, participatory performing opportunities, com-munity engagement activities, and more than 400 public performances each year. The students and faculty of the School are grateful for the continuing interest and support of parents and friends.

For further information or to apply to the School of Music, visit music.umn.edu, call 612/624-5740, or email mnmusic@umn.edu. A complete calendar of events is available at music.umn.edu.

The University of Minnesota is an equal opportunity educator and employer. This publication/material is available in alternative formats upon request. Direct questions to Lisa Marshall, School of Music, 612/626-1094.

James A. Parente, Jr., Dean, College of Liberal Arts David E. Myers, Director, School of Music

30% Post-Consumer Fiber

© 2013 Regents of the University of Minnesota. All rights reserved.Cover image - Lukiyanova Natalia / frenta

The School of Music, a unit of the College of Liberal Arts, is a leading institution for the education of successful performers, composers, teachers, admin-istrators, and scholars, The School interacts with the larger university and Twin Cities communities through classes, participatory performing opportunities, com-munity engagement activities, and more than 400 public performances each year. The students and faculty of the School are grateful for the continuing interest and support of parents and friends.

For further information or to apply to the School of Music, visit music.umn.edu, call 612/624-5740, or email mnmusic@umn.edu. A complete calendar of events is available at music.umn.edu.

The University of Minnesota is an equal opportunity educator and employer. This publication/material is available in alternative formats upon request. Direct questions to Lisa Marshall, School of Music, 612/626-1094.

James A. Parente, Jr., Dean, College of Liberal Arts David E. Myers, Director, School of Music

30% Post-Consumer Fiber

© 2013 Regents of the University of Minnesota. All rights reserved.

The School of Music, a unit of the College of Liberal Arts, is a leading institution for the education of successful performers, composers, teachers, admin-istrators, and scholars, The School interacts with the larger university and Twin Cities communities through classes, participatory performing opportunities, com-munity engagement activities, and more than 400 public performances each year. The students and faculty of the School are grateful for the continuing interest and support of parents and friends.

For further information or to apply to the School of Music, visit music.umn.edu, call 612/624-5740, or email mnmusic@umn.edu. A complete calendar of events is available at music.umn.edu.

The University of Minnesota is an equal opportunity educator and employer. This publication/material is available in alternative formats upon request. Direct questions to Lisa Marshall, School of Music, 612/626-1094.

James A. Parente, Jr., Dean, College of Liberal Arts David E. Myers, Director, School of Music

30% Post-Consumer Fiber

© 2013 Regents of the University of Minnesota. All rights reserved.