G A E TA N O D O N I Z E T T I

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Contents

The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson

Chair, Board of Directors John A. Blanchard, III

The Minnesota Opera, 620 North First Street

Minneapolis, MN 55401 (612) 333-2700

www.mnopera.org

The Minnesota Opera

is a member of OPERA America.

This activity is made possible in part by a grant provided by the Minnesota State ArtsBoard through an appropriation by the Minnesota State Legislature. This project is

supported in part by a grant from the National Endowment for the Arts.

March 2005

The Minnesota Opera Programis published by Arts & Custom Publishing Co., Inc.

Corporate Administrator/Publisher Todd HydeAssoc. Publisher/Director of Production Marsha Kitchel

Senior Account Executives Liesl Hyde, Yvonne Christiansen Creative Designer Michael Gutierres

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Phone (612) 375-9222 FAX (612) 375-9208

Large-print and Braille programs are available at the Patron Services O∑ce

The Minnesota Opera Sta∂ and Volunteers. . . . . . . . . . . . . . . . . . . . . . 6

Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Bel Canto Artistic Philosophy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Maria Padilla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Artist Profile: Brenda Harris . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Gaetano Donizetti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Pedro “the Cruel” in History . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Coming Up At The Minnesota Opera . . . . . . . . . . . . . . . . . . . . . . . . 20

The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . . . 22

Carmen Preview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

The Minnesota Opera Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

The Minnesota Opera 2005 – 2006 Season . . . . . . . . . . . . . . . . . . . . 28

Young Professionals Group Events . . . . . . . . . . . . . . . . . . . . . . . . . . 33

JAIMY GRAHAM

LA TI DA

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Minnesota Opera StaffPresident & CEO Kevin SmithArtistic Director Dale Johnson

Welcome to today’s production of MariaPadilla. For more than four decades TheMinnesota Opera has enriched the culturallife of our community by producingoutstanding and innovative operas thatinspire and entertain.

U.S. Bank is honored to sponsor the 2004– 2005 season. We are proud of our 20+year relationship with The Minnesota Operaand of our sponsorship at this great settingof the Ordway in St. Paul.

At U.S. Bank, we support great dreams,great art and great arts organizations. Theyenrich the community with vibrancy,creativity, and excellence. As the sixthlargest bank in America today, U.S. bank isthe only major bank headquartered inMinnesota, and we’re deeply committed togiving back in this community.

Thank you for coming and enjoy theperformance.

Jose A. Peris, Senior Vice President, RegionManager, U.S. Bank Private Client Group,and Minnesota Opera board member

ArtisticArtistic Administrator . .Roxanne Stou∂er CruzArtistic Associate . . . . . . Floyd AndersonCommunity Education Director . . . . . . . . .

Jamie AndrewsDramaturg . . . . . . . . . . . . . David SanderProduction Stage Manager . . . Alex FarinoAssistant Stage Managers . . .Kristen E. Burke,

Katie PreissnerHead of Music . . . . . . . . . . .Bruce StasynaResident Artists . . . . . . .Raymond Ayers,

Korey Barrett, Jonathan Carle, Theodore Chletsos, Anna Jablonski,

Seth Keeton, Karin Wolverton, Christopher Zemliauskas

RAP Faculty . . . . . . . . . . . .Nancy Boler, Carlotta Dradi-Bower, Matt Sciple

Teaching Artist . . . . . . . . . .Angie KeetonKIDS . . . . . . . . .Lloyd Clausen, Paul Cochran,

Mario Diaz-Moresco, Andrew Penning, Sara Sawyer

Children’s Chorusmaster . . . . . . . .Janice KimesArtistic Intern . . . . . . . . . . . . . . . . . .Matt Bluem

CostumesCostume Director . . . . . . . .Gail BakkomAssistant Costume Director . . .Beth SandersDrapers . . . . . . . . . . . . . . . . . . .Chris Bur,

Yancey Thrift, Angela YarbroughFirst Hands . . . . . . . . .Helen Ammann,

Valerie Hill, Stephanie VogelStitchers . . . . . . . .Rebecca Ballas, Jennifer Dawson,

Christine Richardson Painter . . . . . . . . . . . . . . . . . . . .Marliss JensenWig/Makeup Supervisor . . . . .Marilyn JordonWig/Makeup Assistants . . . Janet Dromgoole

Emily Rosenmeier, Ashley Ryan

SceneryProduction Administrator . . Holly CarpenterTechnical Director . . . . . . . . . . . Mike McQuistonAsst. Technical Director/

Lighting Coordinator . .Marc D. JohnsonProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongCharge Painter . . . . . . . . . . Debra JensenScenic Artist . . . . . . . . . . . .Michael BolinProduction Carpenter . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . . .Steve Rovie Carpenters . . . . . . . . . . Daniel Kimmerle,

Eva Pranis, Eric Veldey

AdministrationFinance Director . . . . . . . . . . Je∂ CoutureOperations/Systems

Manager . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . Jennifer ThillExecutive Assistant . . . . . Theresa MurrayReceptionist . . . . . . . . . . . . . . . . .Jill Pawelak

DevelopmentDevelopment Director . . .Patrick DewaneIndividual Gifts Director . . . . .Dawn LovenInstitutional Gifts Director . . Linda JohnsonInstitutional Gifts Associate/

Gala Coordinator . . . . . . .Kelly ClassenDevelopment Director Assistant . .Kelly Clemens

Marketing/CommunicationsMarketing Director . . . . . . . . . . .Carl LeeCommunications Director . . . Lani WillisTicket O∑ce Manager . . . . Andrea CorichMarketing & Communications Assistant/

Volunteer Coordinator . . . . . . .Reid Tuenge

Minnesota Opera VolunteersThe following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.

Harry Swepston

(Volunteer Chair)

Ann Albertson

Gerald Benson

Colleen Boyer

Jim Brownback*Sue Brownback

Jerry Cassidy

Joann Cierniak

Tricia Clarke

Susan Cogger

Caroline

Coopersmith

Lindsay Craig

Beverly Dailey*Jeanette Daun

Lee Drawert

Judith Duncan

Sally Economon

Hazel Francois

Jane Fuller

Joan Gacki*Christine A. Garner*Juhi Gupta-Gulati

Mark Gustin

Mary E. Hagen

Lucinda Hallet

John Harris*

Anne Hesselroth

Alisandra Johnson

Karen Johnson

Nancy Johnson

Steve Johnson

Jeannie Johnston

Robin Keck

Eleanore Kolar

Lucinda Lamont

Shirley Larson

Jerry Lillquist

Joyce Lillquist

Abby Marier

Margery Martin

Joan Masuck

Mary McDiarmid*

Beth McGuire

Verne Melberg

Irma Monson

Barbara Moore

Doug Myhra

Pam Nielsen

Dan Panshin

Pat Panshin

Liliana Payne

Megan Pelka

Sydney Phillips

Bill Phillips

Julia Porter

John Rosse

Florence Ruhland

John Sauer

Michael Silhavy

Wendy Silhavy

Angie Solomon

Wendi Sott

Dawn Stafki

Dave Terwilliger

Doris Unger

Carolyn Wahtera

Mary Weitz

Barbara Willis*

*Lead volunteer

CAFE LATTE4C

Welcome to our 2004-2005 bel canto

offering, Maria Padilla!

Bel canto (“beautiful singing”) is the

ideal upon which Italian opera is based as

well as the inspiration for this company’s

artistic philosophy. Bel canto values,

which emphasize intense emotional ex-

pression supported by exquisite tech-

nique, inform every aspect of The

Minnesota Opera’s programs, from repertoire selection, cast-

ing and visual design to education and artist training.

The Minnesota Opera has been proud of the critical atten-

tion showered on us in recent seasons for offering what OperaNews called “the most daring programming in America” —

work that The New York Times called “terrifically com-

pelling.” Our bel canto productions have been a lynchpin of

our programming since 2000, in addition to our commit-

ment to contemporary work and the greatest operas in the

standard repertoire. Wall Street Journal gave us accolades for

“sticking to our artistic guns”…“while most American op-

eras traded risky programming for safer options.”

But praise alone can’t build a new production of a ne-

glected masterwork. That requires the support of you, our

audience and patrons, and the support of corporations, foun-

dations and government funding. It is with gratitude that I

acknowledge a $25,000 grant from the National Endow-

ment of the Arts. This gift makes the production before you

possible, and also validates the artistic vision of this company.

Today The Minnesota Opera is enjoying unprecedented

stability and unity of mission, working toward its vision to

create a new, dynamic opera company model based upon in-

novation, world-class artistic quality and strong community

service. Thank you for your continued contribution to our vi-

sion with your attendance and support. Enjoy the perfor-

mance!

Kevin Smith

President & CEO

Welcome to this new production of Maria Padilla!

Donizetti wrote passionate, exciting music that leaves an

audience thrilled from the overture to the final high note of

the opera. The tenor’s dramatic and unusual mad scene is an

extraordinary example and led to the obvious casting choice of

Bruce Ford, who is one of the preeminent bel canto tenors

today and certainly an audience favorite! Don’t miss his CD

signing following the March 13 matinee. Maria is a tour de

force role and there is no one in the world who can sing it better than Brenda

Harris, who returns after a season’s absence to give a performance that will surely

be as unforgettable as her Norma was in 2003. English baritone Ashley Holland

debuts as Pedro the Cruel, and Resident Artist Karin Wolverton is featured as

Ines.

You may notice a difficult dramaturgical aspect of this opera – the entire opera

builds toward a tragic ending, but all of the sudden, there’s a happy outcome (as

you can read in your program notes, the original ending was intended as tragic,

but the censors would not allow it). This tension inspired director Jose Maria

Condemi, set designer Cameron Anderson and costume designer Gail Bakkom.

They chose to visually contrast the very different social worlds of Maria and

Pedro, worlds that in some ways don’t belong together. While the outcome is a

happy one for those two characters, there is some question about how their mar-

riage will fare politically – as conductor Francesco Maria Colombo notes, you can

hear that foreshadowing in the final notes of the finale.

Enjoy the opera!

Dale Johnson

Artistic Director

Board of DirectorsOfficersJohn A. Blanchard,

III, ChairRolf Engh

Vice ChairLynne E. Looney

SecretaryThomas J. Foley

TreasurerKevin Smith,

President & CEO

Directors EmeritusBurt Cohen

Julia W. Dayton

Mary W. Vaughan

Legal CounselJames A. Rubenstein,

Moss & Barnett

Honorary DirectorsDominick Argento

Philip Brunelle

Elizabeth Close

Dolly Fiterman

Charles C. Fullner

Norton M. Hintz

Donald W. Judkins

Liz Kochiras

Jevne Pennock

Patricia H. Sheppard

DirectorsKaren Bachman

Susan S. Boren

Nicky B. Carpenter

Richard P. Carroll

Jane M. Confer

Susan J. Crockett

Sara Donaldson

Brad F. England

John G. Forsythe

Steve Fox

Sharon Hawkins

Karen Himle

Ruth S. Huss

Heinz F. Hutter

Paula R. Johnson

Lucy Rosenberry

Jones

Michael F. Kelly, Jr.

Elizabeth “Becky”

Malkerson

Thomas R.

McBurney

Brian E. Palmer

Jose Peris

Steve Rothschild

Stephanie Simon

Catie Tobin

H. Bernt von Ohlen

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aNotes from the Leadership

from the Artistic Director

from the President

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ballroom 2

courtyard

mad scene 2

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The Minnesota Opera’s artistic philosophy is inspired by bel canto (“beautiful singing”), the ideal upon

which Italian opera is based. Bel canto values, which emphasize intense emotional expression supported

by exquisite technique, inform every aspect of the company’s programs, from repertoire selection,

casting and visual design to education and artist training. The Opera you are about to enjoy represents a

continuation of The Minnesota Opera’s committment to produce works from this rich body of early 19th-

century Italian masterpieces.

Bel Canto Artistic Philosophy

Bruce Ford in Lucrezia Borgia Sumi Jo and Vivica Genaux inThe Capulets & The Montagues

Brenda Harris in Semiramide Irini Tsirakidis in Lucrezia Borgia

By arrangement with Boosey & Hawkes, Inc., agent inthe usa for Josef Weinberger, Ltd., London, publisher

and copyright owner.

The appearances of Theodore Chletsos, national finalist, AnnaJablonski, regional finalist, and Seth Keeton, district finalist ofthe Metropolitan Opera National Council Auditions, are made

possible through a Minnesota Opera Endowment Fundestablished for Artist Enhancement by Barbara White Bemis.

Performances of Maria Padilla are being taped for delayed broadcast onMinnesota Public Radio, ksjn 99.5 in the Twin Cities.

The Minnesota Opera season is sponsored by U.S.Bank, Private Client Group.

The appearances of the 2004–2005 seasonconductors are underwritten by SpencerStuart.

The 2004–2005 Camerata Circle Dinners aresponsored by Rider Bennett.

Opera Insights is sponsored by Thrivent Financial for Lutherans.

Intermission reception sponsored by Lowry HillPrivate Wealth Management.

Rogers & Hollands is the Official Jeweler of The Minnesota Opera.

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The Carnival of 1841–42 featured auspiciousprogramming for Milan’s Teatro alla Scala,

which presented important premieres by three ofItaly’s most significant composers. GaetanoDonizetti opened the season on the traditionaldate, the day after Christmas, with a new work,Maria Padilla. On January 6, Giovanni Pacini launched

the Milanese premiere of Saffo, which had been first seen

in Naples just over a year before. And a young Giuseppe

Verdi presented Nabucco, his third opera to date, on March

9. Interspersed among them was a series of less favorably

received works – revivals of Bellini’s La straniera and

Donizetti’s Belisario (the latter of which was disastrously

sung by Verdi’s first Abigaille, the vocally distressed

Giuseppina Strepponi) and a new opera by Alessandro

Nini entitled Odalisa. It has been suggested that Nabucco’ssuccess eclipsed that of Maria Padilla, but in fact it was

Saffo, Pacini’s greatest work, which did the deed – MariaPadilla closed on February 20 after 23 performances, three

weeks before anyone had laid eyes on Verdi’s first big hit.

Music by Gaetano DonizettiLibretto by Gaetano Rossi

after François Ancelot’s play (1838)

World premiere at the Teatro alla Scala, MilanDecember 26, 1841

March 5, 8, 10, 12 and 13, 2005Ordway Center for the Performing Arts

Sung in Italian with English captions

Conductor . . . . . . . . . . .Francesco Maria ColomboStage Director . . . . . . . . . . . .Jose Maria CondemiSet Designer . . . . . . . . . . . . . .Cameron AndersonCostume Designer . . . . . . . . . . . . . . .Gail BakkomLighting Designer . . . . . . . . . . . .Michael MurnaneWigs and Makeup . . . . .Tom Watson & AssociatesChorusmaster . . . . . . . . . . . . . . . . .Bruce StasynaProduction Stage Manager . . . . .Alexander FarinoEnglish Captions . . . . . . . . . . .Christopher Bergen

The Cast

Maria Padilla . . . . . . . . . . . . . . . . . Brenda HarrisDon Ruiz di Padilla, her father . . . . . . . Bruce FordDon Pedro, Prince of Castile . . . . . Ashley HollandInes, Maria’s sister . . . . . . . . . . . Karin WolvertonDon Ramiro, Duke of Albuquerque . . Raymond AyersDon Luigi, Count of Aguilar . . . Theodore ChletsosDon Alfonso di Pardo . . . . . . . . . . . . .Seth KeetonFrancisca, Maria’s duenna . . . . . . . Anna JablonskiBianca of France . . . . . . . . . . . . . . . . .Lynn Rotto

Courtiers, cavaliers, pages, French envoys, servants, townspeople

Setting: Castile, Spain

Background Notes by David Sander

The lackluster run of Maria Padilla marked a difficult

moment in Donizetti’s career. It had been seven years since

he had been offered a commission by the management of

La Scala, though the theater regularly programmed his

other works. There appeared to be some bad blood be-

tween the composer and impresario Bartolomeo Merelli

since the unfor-

tunate premiere

of Maria S tu-arda in 1835.

Originally in-

t ended f o r

Nap l e s , t h e

ope r a , wh i ch

wa s b a s ed on

the historical

conflict between

Mary Stuart and

Elizabeth i of

England, was

banned by the

k ing h imse l f

(his wife, Maria

C r i s t i na , d i -

rectly descended

f r om th e i l l -

fated Queen of

Scots). Instead,

it was hastily re-

fitted into Buondelmonte, a story involving the 13th-century

struggle between the Guelphs and Ghibellines. Soprano

Maria Malibran had great respect for Maria Stuarda and

demanded to be cast in the title role when the work came

to Milan. Though the censors had made some changes,

Malibran defiantly delivered the most offensive line to her

rival Elisabetta, “vil bastarda.” The diva believed her fame

would carry this serious breach of conduct, but after only

six performances, the police shut the production down.

Coincidentally, Maria Padilla also ran afoul of the censors.

François Ancelot’s original play, which Donizetti may have

seen after it premiered in Paris on October 29, 1838, con-

cluded with Maria’s self-stabbing after she steals the crown

from Blanche of Bourbon’s head. Suicide could be a tricky

issue for the censors – in Rome and Naples it was commonly

banned outright, and though Milan waffled both ways, in

this case the censors followed suit. They instead insisted

Maria simply die of joy, brought on by the fulfillment of her

dream of being recognized as Castile’s rightful queen, an

ending at which Donizetti balked. Soon after the perfor-

mances had begun, he changed the tragic denouement to a

happy one – Pedro acknowledges her as his wife and Maria’s

father regains his sanity.

With this new, yet still dramaturgically flawed ending

(set to a glitzy new cabaletta for its star), the opera re-

mained popular for about two decades, achieving 50 dif-

ferent productions before it fe l l into obscurity.

Nonetheless, it is a masterpiece of the bel canto era.

Granted, Donizetti followed several of the expected con-

ventions, but by his mature period, he had introduced

many innovations, much like Verdi would do over the next

11 years. In most of his scenes, the composer sticks to the

conventional double aria slow-fast structure, but also in-

cludes melodic arioso passages in his recitatives (for exam-

ple, Don Pedro’s first appearance in Act i and Maria’s

opening of Act iii). He experiments with larger dramatic

frameworks, such

a s Ru i z ’ s mad

scene in Act iii,i n s e r t i ng a

larghetto romanza

section between

two allegro move-

ments, essentially

creating a triple

aria structure. In

fact, by this time

in his career, he

had begun to de-

celerate many of

his cabalettas for

dramatic effect (at

times slower than

the preceding ca-

vatina), marking

the t empo

maestoso, moderatoor even andantei n s t e ad o f t h e

more lively allegro assai, vivace or presto. His ensembles also

break form – duets (for example, the slow section of Ines

and Maria’s stellar Act ii duet) become less repetitive and

larger ones, such as the sextet at the end of Act i, break

with traditional formulae (we already had seen the seeds of

this in the male ensembles of Lucrezia Borgia), offering

more diverse reflection and independence of thought. Fi-

nally, we see a more imaginative use of orchestra through-

out (aspects Donizetti picked up in France), from

mood-setting orchestral introductions to the use of a

poignant solo English horn to underscore the touching Act

iii trio.

Most significantly, we see a notable reallocation of voice

types. Typically the tenor would be the main love interest;

instead Donizetti gives this voice to the father – the first

Ruiz was Domenico Donzelli, who at age 51 was nearing

the end of his career. Ruiz is a character closer to his real age

and the relatively low tessitura better suited his voice at that

time (rather atypical of the era, the tenor is emasculated by

the baritone and is given a mad scene). Similarly, though

the lower-voiced baritone range reveals the darker character

of Pedro, the voice sits rather high, anticipating the hybrid

tenor/baritone Verdi would exploit in the coming years (the

first Pedro, Giorgio Ronconi, was a prototype and would

come to sing the title role of Rigoletto for the London pre-

miere of Verdi’s opera).

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Scenic design by Cameron Anderson

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Artist Profile: Brenda HarrisAn interview by Lauren Rico

Broadcast Host Lauren RicoFor the last 15 years, Lauren Rico has been able to combine her love of music with her passion for

public radio. A longtime student of the French horn, Lauren holds a Master’s degree from George

Mason University. She has worked at numerous radio stations in cities across the country including

Tampa, Washington DC, New York City and Charlotte. Lauren has been on the staff of Classical 24,

Minnesota Public Radio’s national classical music service since 1999. In 2001, she received the Gra-

cie Allen Award for Best National Radio Special from the Association of Women in Radio and Tele-

vision for Instrumental Women: Orchestrating Change, a series on the role of women in American

orchestras. She has served as host and producer of The Minnesota Opera broadcasts since 2001.

act i

Scene one – The Castle of Padilla Ines

prepares for her impending nuptials

with Don Luigi. The festivities remind

Maria of a dream she once had – she

too was led to the altar, and then to the

throne as Queen of Castile. Ines de-

nounces her sister’s reckless ambition,

and Maria consoles hersel f with

thoughts of Count Mendez, who ar-

rives presently. As the wedding takes

place, Mendez tenderly addresses

Maria, and she is again consumed by

her vision.

Scene two – Maria’s bedchamber As Maria

prepares to retire for the evening, Fran-

cisca enters the room in an agitated

state – there is a plan afoot to abduct

her charge. The castle guards have been

sufficiently bribed by the king’s son,

Don Pedro, who posed earlier as

Mendez. Surprised, Maria wonders if

the dream is truly her destiny. As

Pedro enters the room, Maria pru-

dently defends her honor with a dag-

ger. She derides his deception, but he

counters with a marriage proposal. As

they revel in their happiness, Pedro

confesses that, for the moment, their

union must remain a secret. Maria

agrees, though with some trepidation.

– intermission –

act ii

A room in the royal palace Two years

later, Pedro is now King of Castile, but

Maria is still kept as a royal mistress.

Courtiers praise her beauty, yet scorn

the liaison. The Queen Mother and the

Prime Minister, Don Ramiro, have

arranged a politically advantageous

marriage between Pedro and Bianca of

France – she is en route as they speak.

Don Ruiz di Padilla is angered by his

daughter’s dishonor, and Ramiro sees

an opportunity to use a father’s rage for

his own benefit.

Ines learns from Maria that Luigi

has been pardoned for killing Pedro’s

favorite, Don Alfonso, during a failed

revolt. Ruiz was also saved, but Maria

weeps, for he will not forgive the

shame she has brought to his house.

Pedro enters the room and is imme-

diately confronted by Ruiz, who even-

tually challenges him to a duel. The

king can barely restrain his rage, yet

rather than demanding the old man’s

execution, orders a beating instead. As

Maria begs for mercy, Ines reproaches

Pedro for his cruelty. Cursing the day

she fell in love, Maria and her sister

leave to attend to their injured father.

– intermission –

act ii i

Scene one – Don Luigi’s modest apartmentsThree days after their father’s beating,

Maria and Ines lament his pitiable state.

As Ruiz stirs, Maria pleads for his for-

giveness, but it becomes clear his mind

has altered. In a desperate effort to re-

store his sanity and to prove her purity,

Maria produces the legal document le-

gitimizing her marriage to the king. At

the sight of the royal seal, Ruiz sets the

parchment ablaze, in order to rid them

of the destruction Pedro has brought to

their family. In the distance, the arrival

of Bianca can be heard, and Maria be-

comes newly determined to assert her

matrimonial rights.

Scene two – The throne room of the palaceCourtiers joyously receive the noble

bride and the coming of peace within

the realm. Pedro privately bemoans the

demands of royal duty and his betrayal of

Maria. As the crown is about to be

placed on the head of his new bride,

Maria rushes into the room. Asserting

her marital rights, she grabs the crown

and places it upon her own head. She

forces the king to face the raving Ruiz

and the consequences of his rash act.

Pedro recognizes Maria as his queen in

spite of unsettled murmuring amongst

the courtiers who fear French retaliation.

Synopsis13

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Scenic design by Cameron Anderson

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Gaetano Donizettib Bergamo, November 29, 1797; d Bergamo, April 8, 1848

With nearly 70 operas to his credit,

Gaetano Donizetti was the lead-

ing Italian composer in the decade be-

tween Vincenzo Bellini’s death and the

ascent of Giuseppe Verdi. Donizetti

was born in the northern Italian city of

Bergamo to an impoverished family.

After showing some musical talent he

was enrolled in the town’s Lezioni Cari-

tatevoli and had the good fortune to

study with Giovanni Simone Mayr,

maestro di cappella at Santa Maria Mag-

giore. Originally from Bavaria, Mayr

was a successful composer in Italy dur-

ing the era preceding Rossini’s rise to

fame, with dozens of operas to his

credit. Though offered many presti-

gious appointments throughout Eu-

rope, Mayr remained loyal to his

adopted community and greatly en-

hanced the local musical institutions.

Donizetti arrived at a time when Mayr

was writing his greatest operas, and his

impression on the younger composer

was pronounced. Throughout his life

Donizetti regarded him as a second fa-

ther, though he would outlive his mas-

ter by only three years.

When it came time, Donizetti fur-

thered his education at the Accademia

Filarmonica in Bologna (shadowing

Rossini, who had once studied there).

He had already penned several short

operas before receiving his first com-

mission in 1818 from the Teatro San

Luca in Venice – this was Enrico di Bor-gogna to a libretto by Bartolomeo

Merelli, who in later years as impresario

of La Scala was instrumental in the be-

ginnings of Verdi’s career. Further

works were produced in Venice, but

Donizetti returned to Bergamo for a

few years of relative inactivity. A letter

of introduction from Mayr to poet Ja-

copo Ferretti led Donizetti to Rome,

where in 1822 he would have his first

unequivocal success, Zoraide di Grenata.His career was just getting started.

Later that year Donizetti settled in

Naples and used it as a base for the next

16 years. He arrived just as Rossini was

finishing a multi-year contract with the

royal theaters. Like Rossini he had the

ability to work at the increasingly rapid

pace demanded by the Italian theater

industry and was able to produce three

to four operas a year for most of his life.

Many remain timeless operatic gems.

Anna Bolena (1830) gained Donizetti

international esteem and was indicative

of the composer’s healthy appetite for

English history. Two later works of dis-

tinction, Maria Stuarda (1835) and

Roberto Devereux (1837) complete what

is known as the “Tudor trilogy.” L’elisird’amore (1832), La fille du régiment(1840) and Don Pasquale (1843)

demonstrated his expert handling of

lighter subjects, while Lucrezia Borgia(1833), Gemma di Vergy (1834), Lucia diLammermoor (1835), Maria de Rudenz(1838) and Maria Padilla (1841) dis-

played the composer’s mastery of the

Italian melodrama fueled by impas-

sioned and unrestrained literature of

the Romantic period. His influence on

Verdi cannot be underestimated.

Donizetti’s success in dealing with

both comic and tragic settings was due

in part to his own manic-depressive

personality. Well-acquainted with per-

sonal misfortune, Donizetti lost in the

span of eight years his mother, father,

two infant sons, an infant daughter and

Virginia Vasselli, his wife of seven

years. He never truly recuperated after

her death, locking the door to her

room and refusing to utter her name

again. His melancholia may have been

induced by early symptoms of syphilis,

which he contracted as a young man,

and also perhaps the responsibility he

may have felt for harboring the disease

that likely cost him his wife and chil-

dren.

Donizetti made his Paris debut in

1835 with Marino Faliero at the

Théâtre Italien and later premiered LesMartyrs (1840) at the Paris Opéra. A

French translation of Lucia made his

name a household word, and in 1840

the composer captivated audiences

with La favorite, which became hugely

popular throughout Europe and North

America. One of his very last works for

the stage, Dom Sébastien (1843), was

cast in the mold of French grand opéraand was extremely well-received.

The composer had hoped to assume

Niccolò Zingarelli’s post as director of

the Naples Conservatory, but when the

85-year-old composer died in 1837,

Donizetti’s considerable musical con-

tribution to the city was overlooked in

favor of another composer, Saverio

Mercadante, chiefly because he was a

native Neapolitan. After a brief stint in

Paris, Donizetti turned toward the

Austrian state, where he became music

director of the imperial theaters. Two

of his final works had their premiere at

Vienna’s principal venue, the Kärnt-

nertortheater: Linda di Chamounix(1842) and Maria di Rohan (1843).

After the success of Linda, he was ap-

pointed Composer to the Austrian

Court, a position Mozart had held a

half century before.

By 1845, symptoms of his illness

had become incapacitating, and his er-

ratic behavior could no longer be ex-

cused by overwork. With his family’s

intervention Donizetti was placed in a

French sanitarium at Ivry for 17

months, then transferred to a Paris

apartment. There he was regularly vis-

ited by musicians and colleagues, in-

cluding Verdi, but by this point he

was paralyzed, disoriented and rarely

spoke. In September 1847 friends

arranged his return to Bergamo, where

he passed his final days at the home of

a wealthy patroness.

Gaetano Donizettti, portrait by Arturo Rietti

Scala/Art Resource, NY

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aPedro “the Cruel” in History

Maria Padilla not only marks a high

point in Donizetti’s compositional

style, but also in the genre of the Ro-

mantic drama. As a second-rate follower

of Victor Hugo, French playwright

François Ancelot naturally went along

with the trend, putting historical fig-

ures on stage in fictionalized situations.

In his day, he was a leading author,

whose drama Têtes rondes et cavaliers had

been turned into I puritani in 1835 by

Vincenzo Bellini and Felice Romani,

and he had already served Donizetti

once before when his Élisabeth d’An-gleterre became Roberto Devereux in 1837,

to a libretto by Salvadore Cammarano.

Donizetti wanted the overcommitted

Cammarano for this project as well, but

instead he ended up with Gaetano

Rossi, a more conventional poet who

had already had a long career writing

for Mayr, Rossini (Tancredi and Semi-ramide), Meyerbeer, Pacini and Mer-

cadante (he would also collaborate on

Donizetti’s next opera for Vienna, Lindadi Chamounix).

It’s true the real María de Padilla was

the mistress of Pedro “the Cruel” of

Castile (r 1350–69), whom he is said to

have married and who was frequently at

odds with the Duke of Albuquerque for

her political machinations (in his play,

Ancelot made more of her involvement

in politics, as well as painting María in a

much less flattering light; curiously it

was in Albuquerque’s home where the

couple had first met in 1352). Pedro

had merely followed the custom set

forth by his father

Alfonso xi’s relationship with Leonor de

Guzmán (operatically realized in

Donizetti’s earlier opus, La favorite) and

his uncle Dom Pedro (also “the Cruel”)

of Portugal’s liaison with Inés de Castro

(a subject set more than 20 times, most

notably by composers Zingarelli and

Persiani; Hugo’s first play was also on

this subject). The coronation scene,

however, and Don Ruiz’s madness are

mere fabrications. Pedro was indeed

forced to marry Blanche (a cousin to

French king Charles V), but abandoned

her only two days after the ceremony.

Eventually he put his young bride in

prison, but not before she had one last

stand. While in transit to Toledo, she

sought refuge in a local church, and re-

fusing to leave, managed to organize a

small rebellion. Pedro likely ordered her

execution in 1361, the same year as

María’s natural death (it’s not a stretch

to imagine how he earned the notorious

appellation). During this tumultuous

period, the Castilian king married a

third time, to Inés de Castro’s sister

Juana, angering the Pope – it was subse-

quently annulled due to Pedro’s then-

existing marriage to Blanche. And, in

1362, to legitimatize his heirs Alfonso,

Beatriz, Constanza and Isabella, Pedro

announced before the cortes that he had

been secretly married to María de

Padilla the entire time. Thus, at some

point when all the women were still

alive, Pedro had had three wives at

once.

Yet polygamy was never a problem

for these medieval

Iberian monarchs, though their secret

mistresses always begat unfortunate re-

sults. In the case of Inés de Castro, King

Affonso of Portugal needed his son un-

encumbered for another royal match (to

a Castilian princess this time) and had

her poisoned. Once king, Dom Pedro

brutally ripped out the hearts of all in-

volved in the plot and allegedly ex-

humed Inés’s corpse to be stuffed and

forever placed in his adoring presence.

The consequences of Alfonso’s affair

with Leonor were even more dire and

everlasting. Immediately after his fa-

ther’s death in 1350, Pedro locked

Leonor up, likely at the urging of his

mother (and Pedro of Portugal’s sister),

María Affonsez of Portugal, who had

been extremely jealous of her rival. Al-

fonso’s eight sons by Leonor, the Trastá-

maras, did not take a liking to their

mother’s harsh treatment, and later, her

execution. The leading Trastámaran,

Enrique, made his own claim to the

throne, having been born before his

half-brother Pedro. Though royal bas-

tards were generally excluded from suc-

cession, Enrique and his siblings rallied

enough support to engage Castile in a

bloody civil war. There were occasional

truces, and though Enrique and brother

Tello were invited and even participated

in Pedro’s wedding to Blanche, another

brother, Fadrique, was a constant menace

and was put to death in María’s presence,

BiancaInesPedroMaria

Ruiz

Cost

ume

desi

gns

by G

ail B

akko

m

Continues on page 32

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IVEY AWARDS4C

The Artists For more biographical information about these artists, visit our website at www.mnopera.org

Raymond AyersDon Ramiro

Minnesota Opera Resident ArtistRecently

Madame Butterfly, The Minnesota OperaFiddler on the Roof; Faust; Susannah; Roméo et Juliette,

Chautauqua OperaMirandolina; Madame Butterfly; The Seagull,

Manhattan School of MusicBach Cantata No. 80, Princeton Symphony Orchestra

Apprentice Artist – Académie Internationale d’Eté de Nice

UpcomingCarmen; Nixon in China; Tosca; Don Giovanni, Minn. Opera

Theodore ChletsosDon Luigi

Minnesota Opera Resident ArtistRecentlyMadame Butterfly, The Minnesota OperaAmahl and the Night Visitors, Minnesota OrchestraLes contes d’Hoffmann; Student Prince; others, Central City Op.Roméo et Juliette; La bohème, Indianapolis OperaL’elisir d’amore; Roméo et Juliette, Lyric Opera of Kansas CityAriadne auf Naxos; Le trouvère, Sarasota Opera

UpcomingCarmen; Tosca; Don Giovanni; Elephant Man, Minn. OperaVanessa, Central City Opera

Bruce FordDon Ruiz

Minnesota Opera DebutThe Abduction of Figaro, 1984

RecentlyIl barbiere di Siviglia, Opéra National de Paris – Bastille

Mitridate; Tito, Royal Opera House – Covent GardenZelmira, Edinburgh Fest.; Ermione, Dallas Opera

Idomeneo, Maggio Musicale Fiorentino; De Vlaamse; LiceuLucrezia Borgia; La clemenza di Tito, The Minnesota Opera

UpcomingTamerlano, Netherlands Op.; Il re pastore, Théâtre de la Monnaie Adelaide di Borgogna, Edinburgh Festival; Idomeneo, Liceu

Ashley HollandDon Pedro

Minnesota Opera DebutRecently

Falstaff; Ernani; others, English National OperaLucia di Lammermoor, Lyric Opera of Chicago

Parsifal, Grazer OperaDon Giovanni, Royal Opera House – Covent Garden

La vera storia, Staatsoper (Hamburg)La bohème; Falstaff, Semperoper (Dresden)

UpcomingLa traviata, Opera Pacific

Billy Budd, English National Opera

Anna JablonskiFrancisca

Minnesota Opera Resident ArtistRecentlyChautauqua Opera Young Artist ProgramLe nozze di Figaro, The Astoria Music FestivalIl barbiere di Siviglia, Portland SummerFestMagic Flute; Passion; Rigoletto; Handmaid’s Tale; La traviata;

Dutchman; The Merry Widow, The Minnesota OperaLa Cenerentola, Portland State UniversityAlbert Herring; others, Bel Canto nwUpcomingCarmen; Nixon in China, The Minnesota Opera

Brenda HarrisMaria Padilla

Minnesota Opera DebutArmida, 1993RecentlyElektra, Austin Lyric OperaDon Giovanni, Atlanta OperaLa finta giardiniera, New York City OperaVanessa, Opéra National du Rhin (Strasbourg)La clemenza di Tito, Metropolitan Opera; Opéra du RhinNorma; Tito; Semiramide; others, The Minnesota Opera

UpcomingThe Consul, Arizona Opera; Orazi & Curiazi, Minn. Opera

17•

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aThe ArtistsFor more biographical information about these artists,

visit our website at www.mnopera.org

Cameron AndersonSet Designer

Minnesota Opera DebutRecently

Così fan tutte, Seattle Opera Young Artist ProgramLa bohème, San Francisco Opera Center

Susannah; Roméo et Juliette, Festival Opera (Walnut Creek, ca)Così fan tutte, Opera Theatre of Lucca (Italy)

Much Ado About Nothing, Shakespeare and Company

UpcomingThe Barber of Seville, Opera Theatre of St. Louis

Don Giovanni, Wolf Trap OperaMeasure for Measure, Garson Theatre Company

Francesco Maria ColomboConductor

Minnesota Opera DebutRecently

The Telephone; The Medium, Spoleto Festival (Italy)Les contes d’Hoffmann, Brescia; Como; Cremona; Pavia (Italy)

Lucia di Lammermoor, Thessaloniki Opera (Greece)Guest Conductor – Orchestra Sinfonica G. Verdi (Milan);

Orchestra della Toscana (Florence); Orch. Sinfonia Siciliana (Palermo); Frankfurt Opera; Mexico City Phil.; others

UpcomingI puritani, Thessaloniki Opera; Tosca, Opera Carolina

Guest Conductor – Verdi Orch.; Toscanini Orch. (Parma)

Seth KeetonDon Alfonso

Minnesota Opera Resident ArtistRecently

Madame Butterfly; The Magic Flute; Passion; Lucrezia Borgia; Rigoletto, The Minnesota OperaAmahl and the Night Visitors, Minnesota Orchestra

La bohème; Roméo et Juliette; Don Giovanni, Chautauqua Op.La bohème; Dead Man Walking; La traviata, Austin Lyric Op.

A Midsummer Night’s Dream, Central City Opera

UpcomingCarmen; Tosca; Don Giovanni, The Minnesota Opera

Death in Venice; Lucie de Lammermoor, Glimmerglass Op.

Jose Maria CondemiStage Director

Minnesota Opera DebutRecentlyDon Giovanni, Cincinnati OperaCosì fan tutte, Seattle Opera Young Artist ProgramUn ballo in maschera, Canadian Opera CompanySuor Angelica; Gianni Schicchi; La bohème, San Fran. Opera CenterL’elisir d’amore; Don Pasquale, Opera San Jose

RecentlyFalstaff, Houston Grand Opera (Associate Director)Così fan tutte, San Francisco Opera (revival)Il trovatore, Austin Lyric Opera

Gail BakkomCostume Designer

Minnesota Opera DebutThe Village Singer, 1982

RecentlyLucretia Borgia; Rigoletto (2003); La traviata;

Macbeth; The Marriage of Figaro (tour); Otello; Faust; Madame Butterfly (tour); The Merry Widow (1994);Frankenstein; Snow Leopard; Cinderella (tour); Rigoletto (1987); South Pacific, The Minnesota Opera

Seven Sevens, New Music Theatre Ensemble

Karin WolvertonInes

Minnesota Opera DebutLucia di Lammermoor, 2001

RecentlyThe Magic Flute; Passion; Rigoletto; The Handmaid’s Tale; Norma;

The Merry Widow; Don Carlos; others, Minnesota OperaThe Student Prince, Central CitySalome, Des Moines MetroDvorak Te Deum; Amahl, Minnesota Orchestra

UpcomingCarmen; Don Giovanni, The Minnesota OperaLes contes d’Hoffmann, Des Moines Metro Opera

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The Artists For more biographical information about these artists, visit our website at www.mnopera.org

Michael MurnaneLighting Designer

Minnesota Opera DebutAriadne auf Naxos, 1987

RecentlyThe Magic Flute; La traviata, The Minnesota Opera

Elijah’s Wake; The Holiday Pageant, Open Eye Figure Theater

Nutcracker Fantasy, Minnesota Dance TheatreGlamorama, Marshall Field’s (Minneapolis; Chicago)

Theater credits – Arizona Theatre Co.; Vocal Essence;Chanhassen Theatres; Illusion Theater; Jungle Theater;

Children’s Theatre; Minn. Dance Theatre; Minn. Orchestra

Bruce StasynaChorusmaster

Minnesota Opera DebutDer Rosenkavalier, 2000

RecentlyMadame Butterfly; The Magic Flute; others, Minn. OperaMadame Butterfly; La Cenerentola, Des Moines Metro OperaFidelio, Minnesota OrchestraDie ägyptische Helena, American Symphony OrchestraThe Barber of Seville; Tito; Don Pasquale, Wolf Trap Opera

UpcomingCarmen; Nixon in China, The Minnesota OperaSweeney Todd, National Symphony; The Latest Word, Wolf Trap

National Council Auditions

Minnesota District Auditions November 13, 10am at Ordway

Center for the Performing Arts

Master Class with Cynthia Munzer November 14, 1pm

at Landmark Center

Upper Midwest Regional AuditionsFebruary 19, 10am at Ordway Center

All events are free and open to the public.

For more information,

please call 763-476-2372

(Judith Boylan, Upper Midwest Reg. Dir.)

or 952-938-6908

(Margaret Houlton, MN District Dir.)

Met winner??

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The Minnesota Opera OrchestraViolin I Kristen Christensen

concertmasterJulia Persitz

David Mickens

Allison Jones

Judy Thon-Jones

Andrea Een

Kari Giles

Miriam Moxness-

Griffiths

Violin II Elizabeth Decker

Stephan Orsak

Melinda Marshall

Carolin Kiesel Johnson

Margaret Humphrey

Almut Engelhart-

Kachien

ViolaAnnette Caruthers

Vivi Erickson

Laurel Browne

Jenny Lind Nilsson

Susan Janda

Cello Jim Jacobson

Adriana LaRosa Ransom

Rebecca Arons Goetz

Thomas Austin

Bass John Michael Smith

Constance Brown

Michael Watson

FluteMichele Antonello

Frisch

Amy Morris

(double piccolo)

OboeMarilyn Ford

Michael Dayton

(double English horn)

ClarinetSandra Powers

Nina Olsen

BassoonCoreen Nordling

Laurie Hatcher Merz

HornCharles Kavalovski

Charles Hodgson

Michael Petruconis

Lawrence Barnhart

TrumpetJohn G. Koopmann

Christopher Volpe

Trombone Sue Roberts

Rick Gaynor

David Stevens

TimpaniKory Andry

PercussionMatthew Barber

Paul Hill

HarpMin J. Kim

Personnel ManagerSteve Lund

The Minnesota Opera ChorusLori Barrett-Pagano

Kelsey Bruso

Karen Bushby

Lisa Butcher

Madeline Cieslak

Benjamin Crickenberger

Steve Dahlberg

Mario Diaz-Moresco

Molly Dimba

Jennifer Eckes

Andrew Elfenbien

Rachel Frazin

Jack Gunderson

April Hanson

Katherine Haugen

Robin Heggen

Ben Johnson

Brian Jorgensen

Jennifer Josephsen

Mark Josephsen

Callie Kimball

Brian Kuhl

Paula Lammers

Peter Larson

Shirley Leiphon

Elizabeth Longhurst

Tom Matchinsky

Mary Monson

Matthew Neil

Laura Nichols

Glenn Olson

James Plante

Peter Robinson

Dominick Rodriguez

Christopher Russell

Steve Sandberg

Joy Scheib

Joel Swearingen

SupernumerariesJohn Blaska

David Mehl

James Monson

Tommy Thompson

Resident Artists covering principal roles

Raymond Ayers –

Don Pedro

Theodore Chletsos –

Don Ruiz

Anna Jablonski – Ines

WBAQ4C

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aComing Up:

In 1991 The Minnesota Opera created the legendary

Carmen that launched the career of Denyce Graves and,

like its heroine, became a modern myth. Seen and cele-

brated throughout the world, the dramatic and sexy Keith

Warner production returns for one final run on its home

stage.

“This production of Carmen put The Minnesota Opera on

the map,” Artist Director Dale Johnson said. “Few will for-

get the power that Keith Warner brought to the undeni-

able masterpiece, making it fresh, alive, contemporary and

sexy. In its stark simplicity the production uncovers the

mysteries of Carmen and her complicated relationship with

Don Jose. Warner was unafraid to be funny, provocative, vi-

olent and over the top. Our Carmen has traveled more miles

than almost any American opera production. It is with

great pride we present this daring production to The Min-

nesota Opera public one more time before its retirement.”

Making her Minnesota Opera debut as Carmen is Rinat

Shaham, who comes to the Twin Cities from Glynde-

bourne’s Carmen. Sharing the role in this double-cast pro-

duction is Kirsten Chávez. Scott Piper, who sang the Duke

in the company’s recent Rigoletto, appears as Don Jose. Ro-

seville native Karin Wolverton sings Michaëla, and

Matthew Arnold and Jonathan Carle alternate as Escamillo.

John Keenan conducts.

Georges Bizet’s Carmen is sung in French with English cap-

tions projected above the stage. The opera runs April 16-

24, 2005, at Ordway Center for the Performing Arts. Call

651-224-4222 for tickets.

Carmen is sponsored by American Express Minnesota Philanthropic Program.

APRIL 16, 17, 19, 20, 21, 22, 23, 24Sung in Spanish with English translations

projected above the stage.

For tickets, call 651-224-4222

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The Minnesota Opera is proud to part-

ner with The Design Center at Interna-

tional Market Square for its 2005 Home

Design Show. The annual show is this

region’s largest and most prestigious

consumer design event, and a great af-

fair for anyone interested in the art, fur-

nishings, finishings and techniques that

combine to create beautiful spaces in

our homes and offices.

Among the highlights—four exquis-

ite Showcase Rooms, inspired by The

Minnesota Opera production of Carmenand designed by three of the region’s

leading designers—Michele Eich, Lola

Watson and Kathryn Johnson. Each

room is designed to capture the person-

ality of one of the opera’s central charac-

ters. Actual costumes used in our

productions will also be on display.

From 5-7 p.m. on March 18 and

Noon to 2 p.m. on March 19, designers

will be in their rooms to discuss the

opera as inspiration. They will be joined

by Minnesota Opera volunteers, who

will answer questions about our upcom-

ing production of Carmen and our orga-

nization.

2005 Home Design Show atInternational Market Square

Dates and timesFriday, March 18, 1 p.m. – 8 p.m.

Saturday, March 19, 10 a.m. – 5 p.m.

LocationInternational Market Square is

located in the historic Munsingwear

Building at the intersection of

Lyndale and Glenwood Avenues in

Minneapolis.

AdmissionTickets are $15 and can be paid via

cash or credit card. One ticket is

good for the entire weekend and

includes admissions to all seminars,

showrooms and presentations.

Information612-338-6250

www.imsdesignshow.com

The Minnesota Opera at The Home Design Show

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The Minnesota Opera Fund

The Bel Canto Circle is The Minnesota Opera’s highest category of personal support, indicating lead gifts of $10,000 or more. With this designation, we recognize these very special friends for their commitment to the tradition of opera in our community.

Gold $5,000-$9,999Eric and Tracy AanensonMr. James BingerJane M. and Ogden W. ConferSusan and Richard CrockettDavid and Vanessa DaytonSara and Jock DonaldsonSally J. EconomonRolf and Nancy EnghMr. and Mrs. John ForsytheConnie Fladeland and Steve FoxN. Bud and Beverly Grossman

FoundationAlfred and Ingrid Lenz HarrisonSharon and Bill HawkinsKaren and John HimleBryce and Paula JohnsonSamuel L. Kaplan and Sylvia Chessen

KaplanMichael F. and Gretchen G. Kelly and

the Kelly Family FoundationConstance and Daniel KuninIlo and Margaret LeppikMs. Becky MalkersonTed and Roberta Mann Foundation

Mary Bigelow McMillanDiana and Joe MurphyElizabeth Musser Trust–FirTree FundBruce and Sandy NelsonAlbin and Susan NelsonNelson Family FoundationTimothy and Gayle OberBrian and Julia PalmerMr. and Mrs. Steven RothschildKevin and Lynn SmithVirginia L. and Edward C. StringerGregory C. SwinehartCatie Tobin and Brian NaasCharles Allen Ward Fund of The Saint

Paul FoundationEllen and Fred Wells

Silver $2,500-$4,999AnonymousChloe D. AckmanPaula AndersonMartha and Bruce AtwaterDr. Ford and Amy BellDavid Hanson and William BiermaierAlexandra O. Bjorklund

Rachelle Dockman ChaseCleveland FoundationDr. James E. and Gisela CorbettJohn and Arlene DaytonMary Lee DaytonKate Ellis and John HarrerChip and Vicki EmeryRondi Erickson and Sandy LewisTom and Lori FoleyLeslie and Alain FreconMr. and Mrs. R. James GesellMr. Denver GilliandBill and Eleanor GoodallThe Hackensack Fund of the

Saint Paul FoundationDorothy J. Horns, M.D., and

James P. RichardsonJay and Cynthia IhlenfeldDale A. JohnsonJacqueline Nolte JonesRobert & Susan JosselsonStan and Jeanne KaginErwin and Miriam KelenMrs. James S. KochirasSid and Diane L. Levin

David MacMillan and Judy KrowMary K. Mahley Family FoundationRoy and Dorothy Ann MayeskeJames and Judith MellingerRichard and Nancy Nicholson -

Nicholson Family FoundationWilliam and Barbara PearceMarge and Dwight PetersonJames J. Phelps and Nancy McGlynn

PhelpsMr. and Mrs. William PhillipsPaul and Mary ReyeltsLois and John RogersKen and Nina RothchildE. Elaine and Roger SampsonKay Savik and Joe TashjianFred and Gloria SewellDrs. Joseph and Kristina ShafferFrank and Lynda SharbroughMr. and Mrs. James SwartzTanrydoon Fund of The Saint Paul

FoundationWilliam Voedisch and Laurie CarlsonBernt von Ohlen and Thomas NicholNancy and Ted Weyerhaeuser

Individual Donors: The Camerata Circle

Individual Donors: The Bel Canto Circle

Anonymous (2)Karen BachmanRebecca Rand and E. Thomas BingerMary and Gus BlanchardRod and Susan BorenMrs. Thomas B. CarpenterDarlene J. and Richard P. CarrollRusty and Burt CohenEllie and Tom Crosby, Jr.Julia W. Dayton

Cy and Paula Decosse Fund of TheMinneapolis Foundation

The Denny Fund of The MinneapolisFoundation

Brad and Diane EnglandDolly J. FitermanJohn and Ruth HussHeinz and Sisi HutterLucy Rosenberry Jones

The Art and Martha Kaemmer Fund ofHRK Foundation

Warren and Patricia KellyPeter J. KingLynne LooneyPatricia LundThomas and Barbara McBurneyHarvey T. McLainMrs. Walter MeyersEstate of Edith J. Mueller

Mrs. George T. PennockJose Peris and Diana GuldenElizabeth and Andrew RedleafConnie and Lew RemeleStephanie Simon and Craig BentdahlRobert and Barbara StruykMary W. Vaughan Fund of The

Minneapolis FoundationC. Angus and Margaret Wurtele

Artist Circle $1,000-$2,499Anonymous (4)An Anonymous Gift from a Donor

Advised Fund of The Saint PaulFoundation

Kim A. AndersonLowell Anderson and Kathy WelteJaime Andrews and Jane Kolp-AndrewsJohn Andrus, IIICheryl Appledorn and Thomas

SchnettlerMartha Goldberg Aronson and Daniel

AronsonMr. and Mrs. Edmund P. BabcockDr. Thomas and Ann BagnoliPatricia and Mark BauerSue A. BennettJohn and Jennifer Bernstein Mr. and Mrs. Paul G. BoeningJan and Ellen BreyerJudith and Arnold BrierConley Brooks FamilyElwood F. and Florence A. CaldwellBruce and Deanna CarlsonJoan and George CarlsonJoe and Judy CarlsonBruce Coppock and Lucia MayDr. Stephen and Beth CragleMrs. Thomas M. Crosby, Sr.

Ruth and Bruce DaytonThomas and Mary Lou DetwilerMona Bergman Dewane and Patrick

Dewane Mrs. Sia DimitriouMr. and Mrs. Carl B. Drake, Jr.Ekdahl Hutchinson Family

Fund of The Minneapolis FoundationSusan Engel and Arthur EisenbergEster and John FeslerHenry and Anice FleshSalvatore S. FrancoPatricia R. FreeburgBradley A. Fuller and Elizabeth LincolnDavid and Kathy GalliganChristine and W. Michael GarnerLois and Larry GibsonHoward and Heidi GilbertMeg and Wayne GisslenPaul and Margot GrangaardMrs. Myrtle GretteRosalie Heffelfinger Hall Fund of The

Minneapolis FoundationMarthajane HapkeDon HelgesonJohn S. and Rosmarie HellingNancy and Doug HeltneCliffton K. Hill and Jody RockwellBill and Hella Mears HuegMr. and Mrs. Thomas Hull

Mr. and Mrs. Philip IsaacsonMr. and Mrs. James L. JelinekCharlotte and Markle KarlenJessie L. KellyLyndel and Blaine KingE. Robert and Margaret V. Kinney

Fund of The Minneapolis FoundationKenneth Kixmoeller, Jr. and Kim

OtnessMr. and Mrs. William KlingLisa C. KochirasMaria KochirasRobert L. Kriel and Linda E. KrachHelen L. KuehnAnita KuninMark and Elaine LanderganBarry Lazarus and Mary DearingRobert L. Lee and Mary E. SchaffnerCarl Lee and Linda Talcott LeeClinton and Judith LeeSusan LentheStefanie Lenway and Tom MurthaJerry and Joyce LillquistMr. and Mrs. B. John Lindahl, Jr.Benjamin Y. H. and Helen C. LiuBill LongDawn M. LovenMr. and Mrs. Donald LuckerMargery MartinSamuel D. and Patricia McCullough

Drs. Mary and Joseph MelandMr. and Mrs. Edward L. MillsThe Honorable and Mrs. Walter MondaleSandy and Bob MorrisMrs. John H. MyersSusan OkieAllegra ParkerKaren B. PaulJodi and Todd PetersonMary Ingebrand PohladTim and Elin RaymondFrances and George ReidKit Reynolds and Mike SchwimmerJohn and Sandra RoeMrs. John C. RowlandLeland T. Lynch and Terry Saario Fund

of The Minneapolis FoundationPatty and Barney SaundersDr. and Mrs. Richard J. SchindlerStanislaw and Krystyna SkrowaczewskiJeff and Helene SlocumJulie Jackley SteinerDon and Leslie StilesJames and Susan SullivanHenry and Virginia SweattMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonMr. and Mrs. Philip Von BlonMs. Wendy Wenger

Individual Donors: The Artist Circle

These lists are current as of January 31, 2005, and include donors who gave gifts of $1,000 or more to The Minnesota Opera Fund since July 1, 2003. If your name is not listed appropriately,

please accept our apologies, and call Kelly Classen, Development Systems Associate at 612-342-9553.

For information on making a contribution to The Minnesota Opera, please call Dawn Loven, Individual Gifts Director, at 612-342-9567.

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Corporations and Foundations

Minnesota Opera Sponsors

Bel Canto $10,000+3MAllianz Life Insurance of North AmericaAmerican Express Minnesota Philanthropic Pro-

gramAndersen FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationThe Bush FoundationCargill FoundationDeloitteDeluxe Corporation FoundationDorsey & Whitney FoundationEcolab FoundationGeneral Mills FoundationLowry Hill Private Wealth ManagementThe MAHADH Fund of HRK FoundationThe McKnight FoundationThe Medtronic FoundationOPERA AmericaPentair, Inc.Piper JaffrayRider Bennett Rogers & Hollands JewelersSpencerStuartSt. Paul TravelersSUPERVALU Stores, Inc.Target FoundationThrivent U.S. Bancorp FoundationU.S. Bank, Private Client GroupValspar FoundationWells Fargo Foundation MinnesotaWenger Foundation

Gold $5,000-$9,999Alice M. O’Brien FoundationAT&T FoundationBemis Company FoundationBriggs and MorganFaegre & BensonGerman-American Heritage FoundationJostens, Inc.Lindquist & VennumOnan CorporationR. C. Lilly FoundationRahr Foundation

RBC Dain Rauscher FoundationTwin Cities Opera GuildU. S. Trust Company Xcel Energy Foundation

Silver $2,500-$4,999Arts & Custom Publishing Co., Inc.Beim FoundationBoss FoundationBuuck Family FoundationDellwood FoundationHutter Family FoundationMargaret Rivers FundMary Livingston Griggs and Mary Griggs Burke

FoundationPeregrine Capital ManagementSchwegman, Lundberg, Woessner & Kluth, PATennant FoundationTozer FoundationWest Group

Artist Circle $1,000-$2,499Alliance Capital ManagementBrock-White Co., LLCThe Burdick-Craddick Family FoundationCharles B. Sweatt FoundationCurtis L. Carlson Family FoundationGREC, LLCGunkelmans Interior DesignHammel, Green and Abrahamson, Inc.Hogan & HartsonHorton, Inc.The C. A. Jackley FoundationLawrence M. and Elizabeth Ann O’Shaughnessy

Charitable Income TrustLe Jeune Investment, Inc.Leonard, Street & DeinardMaslon, Edelman, Borman & BrandMayo ClinicMcVay FoundationThe Minnesota Mutual FoundationThe Elizabeth C. Quinlan FoundationRobins, Kaplan, Miller & CiresiThe Southways FoundationSt. Croix Foundation

Season SponsorU.S. Bank, Private Client Group

Production SponsorsMadame Butterfly, U.S. Bank, Private Client GroupMaria Padilla, National Endowment for the Arts

Carmen, American Express Minnesota

Philanthropic ProgramNixon in China, AT&T Foundation

Production Innovation SystemGeneral Mills

Opening Night Gala SponsorU.S. Bank, Private Client Group

RAP Teaching ArtistsWenger Foundation

Camerata DinnersRider Bennett

Conductor AppearancesSpencerStuart

Evening Intermission SponsorLowry Hill Private Wealth Management

Promotional SupportMinnesota Monthly

Official Jeweler of The Minnesota OperaRogers & Hollands Jewelers

Opera InsightsThrivent Financial for Lutherans

$10,000 – $24,999

$25,000 – $49,000

$50,000 – $99,000

$100,000 +

The Minnesota Opera gratefully acknowledges

its major corporate supporters:

The Minnesota Opera Fund

GovernmentCity of Saint Paul’s Cultural STAR ProgramMinnesota State Arts Board

National Endowment for the Arts

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ToscaNovember 5–13, 2005Heart-pounding drama, intense passionand soaring melodies combine in one ofPuccini’s greatest operas. A sensationon the world stage and numerousrecordings, Galina Gorchakovamakes her Minnesota Opera debut inthe title role, alternating with fast-emerging American soprano LisaDaltirus in this double-cast produc-tion. Bradley Garvin makes hiscompany debut as Scarpia. Internation-ally acclaimed Peruvian maestroMiguel Harth-Bedoya makes hisMinnesota Opera conducting debut,and Michael Cavanagh returns to di-rect this opulent Baltimore Opera pro-duction.

Don GiovanniMarch 4–12, 2006Considered by many the perfect opera,Mozart’s Don Giovanni returns to TheMinnesota Opera stage for the firsttime in 10 years in a new productionby Patrick Mailler celebrating the250th anniversary of Mozart’s birth.American bass-baritone Kyle Ke-telsen stars as the legendary Spanishscoundrel who jousts his way from oneromantic conquest to the next. Patri-cia Risley and Lauren McNeese al-ternate as Donna Elvira, and KarinWolverton returns as Donna Anna.Metropolitan Opera regular PatrickCarfizzi debuts as Leporello, alter-nating with Seth Keeton , andTheodore Chletsos appears as Ot-tavio . Chinese conductor XianZhang makes her company debut.

Orazi & CuriaziApril 8–15, 2006A Bel Canto love story in the tradi-tion of Romeo and Juliet, Orazi &Curiazi (The Orazi and the Curiazi)unveils the tumult of tribal Rome, inwhich clan wars create tragic con-flicts of loyalties. Mercadante, whoLiszt called “Italy’s most importantcomposer,” was a notable contempo-r a r y o f R o s s i n i , B e l l i n i a n dDonizetti, and the dramatic innova-tor who paved the road for Verdi.Eric Simonson directs the Ameri-can premiere of this rare masterpiece.The company eagerly welcomes backtwo of its favorite artists: Bel Cantospecialist Brenda Harris returns asCamilla, and Scott Piper will singher ill-fated lover Curiazio.

“We’re thrilled to present the Amer-ican premiere of this long-neglectedtreasure,” Johnson said. “Mercadantemay not be a household name to ouraudience yet, but this thrilling operawill be a treat to our thousands ofBel Canto fans.”

Joseph Merrick, the Elephant ManMay 13–21, 2006The Minnesota Opera presents theAmerican premiere of Joseph Merrick,the Elephant Man in a new productionby acclaimed choreographer and di-rector Doug Varone. French com-poser Laurent Petitgirard tellsthe s to ry o f the beaut i fu l sou ltrapped by a tragic disease in a cine-matic score that is at once shimmer-

ing and tender. Originally composedfor a contralto voice, the title rolewill be sung by celebrated coun-tertenor David Walker. Christo-pher Schaldenbrand returns asD r. Tr e v e s . O n e o f M i n n e s o t aOpera’s most versatile and celebratedconductors, Antony Walker re-turns to the podium.

Joseph Merrick, the Elephant Man pre-miered in February, 2002, at theState Opera in Prague (with theFrench title, Joseph Merrick dit Ele-phant Man), and was proclaimed “am o v i n g , m o d e r n w o r k ” b yAmazon.com and “a compelling score”by London’s Sunday Telegraph. It wassubsequently staged to further ac-claim in Nice in November and De-cember, 2002, and filmed by OSFProductions for French television.

“This opera tells the story of the Ele-phant Man from his own perspective,rather than from the doctor’s as didthe famous David Lynch movie star-ring John Hurt and Anthony Hop-kins,” said Johnson. “I think this ishighly appropriate, because ulti-mately, it is the story of a beautifulsoul. It’s the characters on the out-side that distort that reality, seeingonly his disease. To highlight thisperspective, Doug Varone’s approachwill rely on movement rather thandisfiguring make-up to portray thisspirit.”

Joseph Merrick, the Elephant Man issponsored by American Express Min-nesota Philanthropic Program.

T h e M i n n e s o t a O p e r a ’ s 2 0 0 5 – 2 0 0 6 s e a s o n f e a t u r e s t w o b e l o v e d

m a s t e r p i e c e s , To s c a a n d D o n G i o va n n i , a n d t w o A m e r i c a n p r e m i e r e s ,

S a v e r i o M e r c a d a n t e ’ s B e l C a n t o t h r i l l e r , O r a z i & C u r i a z i , a n d

L a u r e n t P e t i t g i r a r d ’ s J o s e p h M e r r i c k , t h e E l e p h a n t M a n .

“The diversity of repertoire in 2005–2006 creates a bold season by any standard,” said President and CEO KevinSmith. “This is a very ambitious set of operas to produce, each bearing its own challenges and requiring a top-notchopera company for its success. We have never been more ready to take on a season like this. The Minnesota Opera iscommitted to staging repertoire from the Bel Canto and current eras, and that investment has earned us the reputationas a true industry leader.”

“This company’s energetic, innovative exploration and production of varied repertoire is a huge draw for artists,” saidArtistic Director Dale Johnson. “Whether to breathe new life into a major masterwork like Tosca and Don Gio-vanni, or the opportunity to contribute to an American premiere like Orazi & Curiazi and The Elephant Man, The Min-nesota Opera is where singers and creative artists come to make compelling opera theater.”

Favorite Classics American Premieres

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MAR. 15 - 27Ordway Center presents Say Goodnight Graciestarring Frank GorshinThe life, laughter, and love of George Burns and Gracie Allen.Main Hall $28 - $50

MAR. 15 - MAY 28Ordway Center presents My Way: A Musical Tribute To Frank SinatraDirected by Casey StanglBringing the music of “ol’blue eyes”to life.McKnight Theatre $35 - $45

TUES. MAR. 29, 8:00PMThe Schubert Club presents Alfred Brendel, piano$15 - $40

THURS. MAR. 31, 8:00PMFRI. APR. 1, 10:30AM AND 8:00PMSAT. APR. 2, 8:00PMThe Saint Paul Chamber Orchestrapresents Schubert's Dances & Mozart's Piano ConcertoChristian Zacharias, conductor/piano

SUN. APRIL 3, 2:00PMThe Minnesota Orchestra presentsFantastical Tales, with music by Franck, Liszt, and KodályGilbert Varga, conductor; Louis Lortie, piano$20 - $53

FRI. APRIL 8, 7:00PMOrdway Center presents Ball in the HouseRedefining Pop a cappella style!Main Hall $24 - $30

SAT. APR. 9, 10:30AMThe Saint Paul Chamber Orchestrapresents Family Concert: Twist of TangoMarlene Pauley, conductor

SAT. APR. 9, 8:00PMThe Saint Paul Chamber Orchestrapresents Britten's War Requiem in collaboration with The Minnesota OrchestraOsmo Vänskä, conductorHelen Donath, sopranoJames Taylor, tenorHåkan Hagegård, baritoneMinnesota Orchestra, Minnesota Chorale,Kantorei, Magnum Chorum, MinnesotaBoychoir

APR. 16 - APR. 24The Minnesota Opera presents Carmen by Georges Bizet. Seen and celebrated throughout the world, the dramatic and sexy Keith Warner production returns for one final run on its home stage. $30 - $95

ORDWAY CENTER651-224-4222 ordway.org

THE MINNESOTA OPERA651-224-4222 mnopera.org

THE SAINT PAUL CHAMBER ORCHESTRA651-291-1144 thespco.org

MINNESOTA ORCHESTRA612-371-5656 minnesotaorchestra.org

THE SCHUBERT CLUB651-224-4222 schubert.org

On stage atOrdway Center

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•32

as the couple sat down to dinner (had he lived, Fadrique

might have posed an interesting succession dilemma, as he

and Enrique were twins).

Thrown into the mix was the mighty conflict known as the

Hundred Years War. When the heirs of Philippe IV of France

died out, his daughter, Isabelle, claimed the crown for herself.

Unfortunately, she was married to Edward II of England, and

the French didn’t relish the overlordship of their English

neighbors. So they invoked an old Frankish custom, the Salic

Law, which forbade inheritance through a female line. They

chose Philippe’s nephew and namesake as their new king, but

this didn’t stop Isabelle’s son, Edward III, from pressing his

birthright. The first decisive conflict was at Crécy in 1346,

which proved disastrous for France. Eager for a retaliation on

English soil, the French coveted Castile’s powerful navy, lead-

ing to an alliance via Philippe’s grandniece, Blanche of Bour-

bon.

Naturally, the English had their eyes on Castile as well. A

daughter of Edward, Joan, had been betrothed to Pedro, but

in 1348, she died during her voyage to Iberia. Edward’s son,

the Duke of Wales, known as the Black Prince, held court in

the southern French region of Aquitaine. Both he and Pedro

shared a common ancestor, Eleonor (as did Charles V), who

had originally brought the province into the British fold two

centuries earlier. When Enrique gained an upper hand in

Castile, forcing Pedro and his family to flee, the Black Prince

offered them refuge and troops, eventually ousting the

usurper, at least for the moment. Enrique turned to the

French king for help (using Blanche’s murder to support his

scheme) and also to Aragon, where its ruler Pere III was to

murder another claimant to the Castilian throne, his half-

brother Ferran, who was the son of Alfonso XI’s sister Leonor.

Enrique eventually seized power again, fighting Pedro to the

death in an arm-to-arm combat.

The saga was not yet over. Pedro’s children had been named

his heirs, though during the barbarous medieval age, martial

force frequently triumphed over dynastic right. Both Con-

stanza and Isabella had survived their father and were still

under the protection of England. The Black Prince was dead,

but his brother, John of Gaunt, Duke of Lancaster, took over

the management of Aquitaine and began to view Constanza as

a way to seize the crown of Castile for himself. The resulting

marriage was hardly a love match, but a tactical maneuver

beneficial to both sides. To doubly seal the deal, he married

off her sister Isabella to his brother Edmund. Eventually en-

listing the side of Portugal, Lancaster married his daughter by

his first wife, Philippa, to King João I of Portugal (whose half-

brother, Fernando I also had had a claim to the Castilian

throne as the closest male relative by way of his great grandfa-

ther Sancho IV – to strengthen his position, he had married off

his daughter Beatris to Enrique’s son Juan I). Not surpris-

ingly, the constant intermarriages between the houses of

Castile, Portugal and Aragon yielded multiple dynastic sce-

narios and as many problems as the royal bastards. After yet

another military campaign led by Lancaster in the wake of

Enrique’s death, the situation would finally be settled with

the marriage of Juan’s son and eventual successor, Enrique III,

to Constanza and Lancaster’s daughter, Catalina. Juan II, the

son of Enrique III and Catalina, fused the blood of the oppos-

ing sides, and one generation later, Spain would be united by

the marriage of cousins Ferdinand and Isabella, but not before

two more civil wars, one for the crown of Aragon, by Ferdi-

nand II’s grandfather (and Catalina’s brother-in-law) Ferdinand

I (those politics surround Verdi’s Il trovatore), and Isabella’s

own struggle to wrangle the Castilian throne from her half-

brother Enrique IV. Back in England, Lancaster’s son Henry

would usurp the crown from his cousin Richard II, initiating

the infamous War of the Roses. Henry IV’s son, Henry v,

would be victorious at another major French defeat at Agin-

court, wresting the French crown (for the time being) from

the addle-minded son of Charles v. A century later the rival

houses would be tidily reunited by the birth of Henry VIII,

who took for his first wife Catherine, the daughter of Ferdi-

nand and Isabella. France would be appeased by the marriage

of Henry’s sister Mary to Louis XII.

Continues from page 15

Literary Traditions

Though not especially familiar to modern audiences,

the plight of Pedro the Cruel has received a fair

amount of literary treatment throughout the ages, at

first with the romanceros, Trastámaran propaganda

spread by the opposing side. It is here we get accounts

of María de Padilla’s conniving nature and blood-

thirstiness as well as rumor of Pedro’s murdering

Blanche and Fadrique as punishment for supposedly

having a love child together. Pedro was also accused of

being the illegitimate child of María of Portugal and

fellow countryman Juan Alfonso, Duke of Albu-

querque. Pero Lopez de Ayala gives a contemporary

account in his La crónica del Rey Don Pedro. In the 17th

century, Félix Lope de Vega wrote Las audiencias delRey Don Pedro, inspiring Jose Zorrilla to later write Elzapatero y el rey in 1840, and Spain’s other literary

giant, Pedro Calderón de la Barca, wrote Médico de suhonra on the same subject. In France, Laurent du Bel-

loy (whose works served as a source for Rossini’s

Zelmira and Donizetti’s Gabriella di Vergy) wrote Pierrele Cruel in 1772, Voltaire published his setting of the

tale as Don Pèdre, roi de Castille in 1774 and Alexandre

Dumas père’s Pierre le Cruel appeared in 1839. A most

interesting historical account is Prosper Mérimée’s

Don Pèdre I, which first appeared in the Revue des Deux-Mondes (1848), his interest in all things Spanish ex-

pressed in Carmen just a few years earlier, to be set to

music by Georges Bizet in 1875.

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NANCY MEEHAN4C

Upcoming EventsAre you a 20- or 30-something who’s curious about opera? Looking forsomething new and fun to look forward to? Join other young professionals forthe hottest ticket in town — The Minnesota Opera’s Young ProfessionalsGroup!

The low-cost YPG membership (only $30 per season) entitles members togreat seats at the Opera for rock-bottom prices, as well as pre-opera cocktailparties and special events throughout the season.

Noche de SalsaFriday, April 1 at The MinnesotaOpera Center

Opera Nights Out: Maria Padilla, March 12Carmen, April 23Nixon in China, May 21To join, visit www.mnopera.org or email us at

ypg@mnopera.org.

Cultivating a new generation of opera-goers in the Twin Cities

Great Waters is the official venue for Opera Nights Out

photo by Barbara Willis