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Contents

The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson

Chair, Board of Directors J. 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.

November 2005

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

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

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

Production Designers Jill Adler, Sue Sentyrz Klapmeier,Robert Ochsner

ARTS & CUSTOM PUBLISHING CO., INC.1001 Twelve Oaks Center Dr., Wayzata, MN 55391

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

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

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

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

Gala Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Tosca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

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

Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Giacomo Puccini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

2005 – 2006 Opera Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

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

Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . 18

Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Great American Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

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

Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

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

Welcome to today’s production of Tosca. Formore than four decades The MinnesotaOpera has enriched the cultural life of ourcommunity by producing outstanding andinnovative operas that inspire and entertain.

U.S. Bank is honored to sponsor the 2005– 2006 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

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Minnesota Opera StaffPresident & CEO Kevin SmithArtistic Director Dale Johnson

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

Jamie AndrewsDramaturg . . . . . . . . . . . . . David SanderProduction Stage Manager . . . Alex FarinoAssistant Stage Managers . . . . .Angie Spencer,

Kathryn Sam Loftin Head of Music . . . . . . . . . . .Bruce StasynaCoach/Accompanist . . . . . . . .Julian WardResident Artists . . . . . . .Raymond Ayers,

Korey Barrett, Alison Bates, Theodore Chletsos, Seth Keeton,

Peter Kozma, John Michael Moore,Edward Mout

RAP Faculty . . .Allysum Tai Chi Center,Nancy Boler, David Mann, Peter Robinson Teaching Artist . . . . . . . . .Angela KeetonProject Opera Apprentices . . .Setara Barukzoy,

Erin Marie Capello, Kyle De Graff, Daniel Segura

Project Opera Directors . . . .Emily Gergen, Dale Kruse

Project Opera Accompanists . . . . . . . . . . . .Kathy Kraulik, Julian Ward

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

Yancey Thrift, Angela Yarbrough Costume Technicians . .Helen Ammann,

Megan Ballengee, Jennifer Dawson,Mary Farrell, Christine Richardson,

Stephanie VogelPainter/Dyer . . . . . . . . . .Marliss JensenWig/Makeup Designer . . . . . .Tom WatsonWig/Makeup Assistants . . . . . . Ashley Ryan,

Nina Stewart

SceneryTechnical Director . . . . . . . . . . . Mike McQuistonAsst. Technical Director/

Lighting Coordinator .Marc D. JohnsonProduction Administrative

Assistant . . . . . . . . . . . . . Kathryn CattrysseProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongProduction Carpenter . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . Eric Veldey

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

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

DevelopmentDevelopment Director . . .Patrick DewaneIndividual Gifts Director . . . . .Dawn LovenInstitutional Gifts Director . . Linda JohnsonInstitutional Gifts Associate . . .Emily SkoblikIndividual Gifts Associate . . . . . . . . . . .

Megan StevensonDevelopment Director Assistant . . . . . .

Kelly Clemens

Marketing/CommunicationsMarketing Director . . . . . . . . . . .Carl LeeCommunications Director . . . Lani WillisTicket O∑ce Manager . . . . Andrea CorichMarketing and

Communications Assistant . .Janet BertokTicket O∑ce Assistant . . . .Carol Corich

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

Catherine AhernAnn AlbertsonElizabeth Incremona

BanckerGerald BensonJim Brownback*Sue BrownbackSarah BurmanChristine BussJerry CassidyDiane ChoihJoann CierniakSusan CoggerCaroline CoopersmithBeverly Dailey*Denis DaileyJeanette DaunTimothy DavisLee DrawertJudith DuncanSally EconomonChristopher FosterHazel FrancoisLi-Jun FuJane FullerJoan Gacki*

Alex GarayChristine A. Garner*Juhi Gupta-GulatiMark GustinMary E. HagenMark HahnLucinda HalletMerle J. HansonJohn Harris*Cari Beth HeadAnne HesselrothAlisandra JohnsonKaren JohnsonNancy JohnsonSteve JohnsonJeannie JohnstonKristen JohnstonRobin KeckDawn KlassenShannon KloneckiEleanore KolarLucinda LamontShirley LarsonMathilda LienJerry LillquistJoyce Lillquist

Maura LoMonicoAbby MarierMargery MartinJoan MasuckYasuko MatsumotoMary McDiarmid*Beth McGuireVerne MelbergJeanette MiddletonIrma MonsonBarbara MooreDoug MyhraDenise NicholsPam NielsenDavid NifoussiJennifer OrtaleCandyce OsterkampDan PanshinPat PanshinMegan PelkaHolly PetersonBill PhillipsSydney PhillipsJulia PorterCarol PurvisKathleen Riley

Shannon RobinsonLeigh RoethkeJohn RosseEnrique RotsteinFlorence RuhlandJohn SauerLynette SaucierMichael SilhavyWendy SilhavyAngie SolomonWendi SottKaren St. JohnKatie SteermanHolly Svea-ForsbergHarry SwepstonDave TerwilligerEmily ThompsonDoris UngerStacey VonderhearCarolyn WahteraMary WeitzBarbara Willis*Elizabeth Cutter WilsonKathie WojtkiewiczEve Yang

*Lead volunteer

As another beauti-

ful Minnesota au-

tumn arrives, so

does the opera sea-

son. We are ex-

cited to present to

you one of my fa-

vorite works, Puc-

cini’s Tosca. Once

described as a “shabby little shocker,”

it has become one of the best-loved

operas in the repertoire.

The stakes are high as the fiery diva

Tosca and her lover, the painter

Cavaradossi, are ensnared in a danger-

ous web spun by the evil chief of po-

lice, Scarpia. Puccini composed a

thrilling score filled with captivating

melodies and sensational characters.

It is always exciting to introduce

artists to Twin Cities opera-goers, and

almost all our guest artists in this

double-cast production are new to our

stage. A sensation on the world stage,

Galina Gorchakova makes her

Minnesota Opera debut in the title

role, alternating with fast-emerging

American soprano Lisa Daltirus.Kim Josephson and BradleyGarvin make their company debuts

as Scarpia, and William Joyner, who

sang in our 1996 La bohème, alternates

as Cavaradossi with debuting JeffreySpringer. Internationally acclaimed

Peruvian maestro Miguel Harth-Bedoya makes his Minnesota Opera

conducting debut, and MichaelCavanagh (The Magic Flute) returns

to direct. Whichever cast you are

hearing today, you will be treated to

world-class performances.

Enjoy the performance!

Dale Johnson

Artistic Director

Board of Directors

Nicky B. Carpenter

Richard P. Carroll

Susan J. Crockett

Mary A. Dearing

Sara Donaldson

Chip Emery

Rolf Engh

Brad F. England

Denver Gilliand

Sharon Hawkins

Kristin Hayes

Karen L. Himle

Ruth S. Huss

Heinz F. Hutter

Paula R. Johnson

Lucy Rosenberry Jones

Michael F. Kelly, Jr.

B. John Lindahl

Becky Malkerson

Tom McBurney

Diana E. Murphy

Brian E. Palmer

Jose Peris

Elizabeth Redleaf

Connie Remele

Mitchell Stover

Virginia Stringer

Catie Tobin

H. Bernt von Ohlen

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aNotes from the Leadership

from the Artistic Director

Welcome to the

beginning of a

new opera season!

The Minnesota

Opera has had

some recent

successes I’d like to

share with you.

We finished last season with a

$150,000 budget surplus. We met

our second-year Bush Foundation

Challenge goal of $150,000 in new

and increased gifts. And we

announced the public phase of our

Opera at the Ordway Initiative (you

can read more about it on page 24),

and we have already raised $11.1

million toward our $20 million goal.

Why is this important? You may not

realize that ticket revenue covers less

than half the cost of producing the

opera you are enjoying today. This

means we depend upon contributions

from our audience to operate. We

invite you to contribute to the Opera’s

future success by giving to the Bush

Foundation Challenge and the Opera

at the Ordway Initiative. Another way

to be a part of The Minnesota Opera’s

success is to subscribe – and it’s the

best way to guarantee seats for DonGiovanni and our exciting American

premieres of Orazi & Curiazi and

Joseph Merrick, the Elephant Man.

I’m delighted you’ve joined us for the

beginning of our 43rd season, and I

hope to see you at each of our operas

this year!

Kevin Smith

President & CEO

from the President

Officers

J. A. Blanchard III, Chair

Jane M. Confer, Stephanie Simon, Vice Chairs

Lynne E. Looney, Secretary

Thomas J. Foley, Treasurer

Kevin Smith, President & CEO

Directors Emeriti

Karen Bachman

Burton Cohen

Julia W. Dayton

Mary W. Vaughan

Legal Counsel

James A. Rubenstein, Moss & Barnett

Honorary Directors

Dominick Argento

Philip Brunelle

Elizabeth Close

Dolly Fiterman

Charles C. Fullmer

Norton M. Hintz

Donald W. Judkins

Liz Kochiras

Jevne Pennock

Patricia H. Sheppard

Directors

The Minnesota Opera thanks the generous supporters of the Opening Night Gala

Opening Night Galaa bene t for The Minnesota Opera

3MArthur Murray Dance StudioArts & Flowers Design StudioAuriga RestaurantAveda Institute MinneapolisBachman, Karen and

Dr. Robert FischBrown, Peter C.Café BarbetteCafe LattéCaldreaCarroll, Richard P., M.D., F. A. C. S. Chaseburg Manufacturing, Inc.Confer, Jane and OgdenCorbett, Jim and GiselaCorich, CarolCruz, JoeD’Amico & PartnersDale StudiosDayton, JudyDonaldson, Sara and JockEmery, Chip and VickiFirst Course RestaurantFitness Together—MinneapolisGardens of SalonicaGisslen, Wayne and MegGrandma’s Restaurant CompanyGreat Waters Brewing CompanyGreenspring Media GroupGuthrie TheaterHuss, Ruth and JohnJohnson, DaleJV & CompanyKapalo Retreats, LLCKing, ShannonKitchen WindowLatté Da Wine & Coffee BistroLife Time Fitness FoundationLocal MotionLori Line Music, Inc.M & I Bank Broadway in MinneapolisMacPhail Center for MusicManhattan Toy CompanyMarty Mathis DirectMinnesota Center for Book ArtsMinnesota Historical Society

Minnesota OrchestraMSP CommunicationsMusic2Master.comOld Log TheaterOrdway Center for the

Performing ArtsPalomino Restaurant,

Rotisseria and BarPark Hyatt ChicagoPark Square TheatrePittelkow, SteveRedleaf, Elizabeth and AndrewRibnick Fur & LeatherRistorante Luci/Luci AncoraRiver Chocolate CompanyRound Midnight WoodturningsSaint Paul SaintsScience Museum of MinnesotaSkin Rejuvenation ClinicSmith, Kevin and LynnSpalon MontageStover, MitchSullivan, Susan and JimSywassink, G. A.Target CorporationTeener's Theatrical

Department StoreThe Bell Institute of Health and

Nutrition at General MillsThe Jungle TheaterThe Loft Literary CenterThe Minnesota Opera Board of

DirectorsThe Schubert ClubThe Toro Giving ProgramUniversity of Minnesota Alumni

AssociationVaughan, Mary W.Vilks, CindyVine Park Brewing CompanyVocalEssenceWaterfall Resort, AlaskaWisteria DesignWolfgang PuckZimmerman, R.D.

5AUCTION)DONORS%5GALA)COMMITTEE%

Ruth Huss Honorary Gala Chair

Jane ConferIndividual Chair

Frank Guzzetta, Jr. Corporate Chair

5GALA)SPONSORS%

U.S. Bank, Private Client Group

Marshall Field’s Gives

Okabena Advisors

5SPECIAL)THANKS%

Bolger Vision Beyond Print

Gisela and Jim Corbett

Dean Hawthorne

Meg and Wayne Gisslen

Marge Kazmierczak

Amy Kirkpatrick Graphic Design

The Minnesota Opera Board of Directors

Mary Jo Pauly

Melissa Peterson

Steve Pittelkow

Silent Auction Committee

Jim Smart, Smart Associates

Young Professionals Group

Cindy Vilks

5CORPORATE)TABLES%

3M Caldrea

Dorsey & Whitney LLP Excel Bank

DeloitteMarshall Field’s Gives

The Medtronic FoundationOkabena Advisors

RBC Dain Rauscher SpencerStuart

SUPERVALU Stores, Inc. Target

U.S. Bank, Private Client GroupU.S. Trust

ValsparXcel Energy

5INDIVIDUAL)TABLES%

Karen Bachman and Robert FischMary and Gus Blanchard

Christine and Daniel BussJane and Ogden Confer

Judy DaytonRuth and John Huss

Martha and Arthur KaemmerLois and Richard Marsh

Elizabeth and Andrew RedleafLynda and Frank Sharbrough

Mary Vaughan

5MATCHING)GIFT%

All proceeds up to $25,000 fromtonight’s Reverse Auction will bematched dollar for dollar by ananonymous donor to benefit the

Opera’s Resident Artist Program.

These lists are current as of October 10, 2005.

Sets designed by Andrew Horn for the Baltimore Opera Company.

The appearances of Seth Keeton, national finalist, and Lisa Daltirus,

John Michael Moore and Edward Mout, district finalists of the

Metropolitan Opera National Council Auditions, are made possible

through a Minnesota Opera Endowment Fund established for Artist

Enhancement by Barbara White Bemis.

Performances of Tosca are being taped for delayed broadcast on

Minnesota 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 2005–2006 season

conductors are underwritten by SpencerStuart.

Opera Insights is sponsored by Thrivent

Financial for Lutherans.

Intermission reception sponsored by Lowry Hill

Private Wealth Management.

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One of the more intriguing tales in the

annals of opera is exactly how Tosca

came into Puccini’s hands. At the suggestion

of Ferdinando Fontana, librettist of his

first two operas, the composer became inter-

ested in the original French play as early as

1 8 8 9 . P u c c i n i i n d e e d m ay h av e s e e n t h e

drama performed by the legendary actress,

Sarah Bernhardt (for whom the title role

was created), when she played at Milan’s

Teatro dei Filodrammatici and again when

t h e p l ay m o v e d t o Tu r i n . F o r h i s pa r t ,

Fontana had already been in touch with its

French author, Victorien Sardou, to seek

permission to adapt his play.

Music by Giacomo PucciniLibretto by Giuseppe Giacosa and Luigi Illica

Based on Victorien Sardou’s play La Tosca (1887)

World premiere at Teatro Costanzi, RomeJanuary 14, 1900

November 5, 6, 8, 10, 11, 12 and 13, 2005Ordway Center for the Performing Arts

Sung in Italian with English captions

Background Notes by David Sander

Conductor . . . . . . . . . . . . . . . . .Miguel Harth-BedoyaStage Director . . . . . . . . . . . . . . .Michael CavanaghSet Designer . . . . . . . . . . . . . . . . . . . . .Andrew HornCostume Designer . . . . . . . . . . . . . . . . .Gail BakkomLighting Designer . . . . . . . . . . . . . . .Marcus DilliardWigs and Makeup . . . . . . .Tom Watson & AssociatesAssistant Director . . . . . . . . . . . . . . . . .Peter KozmaChorusmaster . . . . . . . . . . . . . . . . . . .Bruce StasynaChildren’s Chorusmaster . . . . . . . . . . . .Janice KimesProduction Stage Manager . . . . . . .Alexander FarinoEnglish Captions . . . . . . . . . . . . . . . . . .Dale Johnson

The Cast

Floria Tosca, a celebrated opera singer . . . . .Galina Gorchakova*

Lisa Daltirus**

Mario Cavaradossi, a painter . . . . . . .William Joyner*

Jeffrey Springer**

Scarpia, Chief of Police . . . . . . . . . . .Kim Josephson*

Bradley Garvin**

Cesare Angelotti . . . . . . . . . . . . . . . .Raymond AyersA sacristan . . . . . . . . . . . . . . . . . . . . . .Seth KeetonSpoletta, a police agent . . . . . . . . . . . .Edward MoutSciarrone, a gendarme . . . . . . . .John Michael MooreA jailer . . . . . . . . . . . . . . . . . . . . . . .Raymond AyersA shepherd boy . . . . . . . . . . . . . .Benjamin Westphal*

Romnick Bilderback**

Clergymen, nuns, choristers, choirboys, an executioner, soldiers, police agents, noblemen and

women, townspeople, villagers

Setting: Rome, June 1800

* performs November 5, 8, 10, 12** performs November 6, 11, 13

Tosca is sponsored by U.S. Bank, Private Client Group

Once Giulio Ricordi got wind of the proposal, he too con-

tacted Sardou via his Parisian representative, Verdi-disciple

Emanuele Muzio. But Sardou did not warm to the idea right

away – he had envisioned his drama set to music by a French

composer, and Puccini, soon to have the failed Edgar to his

credit, was not a big enough name even in Italy. Only when

prompted by a little money (5% of the box office receipts,

an unusually high amount for the House of Ricordi to offer)

and the suggestion that an Italian composer could truly do

justice to a play set entirely in Rome, did the venerated play-

wright acquiesce.

That was in 1893, and by that time, Puccini had been

vexed by Sardou’s long silence. The composer had reaped the

success of his third opera, Manon Lescaut, and was hot on the

tra i l to set Henry

Murger’s Bohemian

tales. Ricordi still had

a signed contract with

Sardou to have his

drama set to music

and had a fine story at

h i s d i sposa l , now

drafted by librettist

Luigi Illica. He there-

fore turned to another

one of his talented

young lions, Alberto

Franchetti, who had

had two successes to

h i s c r ed i t, Asra e l(1888) and CristoforoColombo (1892), the

latter of which pre-

miered in honor of the

legendary explorer’s discovery of the New World, grandly

unveiled in Meyerbeerian proportions.

It was at this point things get a little blurred. The follow-

ing year Franchetti and Illica traveled to Paris for talks with

Sardou, a visit coinciding with the French premiere of Oth-ello at the Opéra, a production supervised by the octogenar-

ian Giuseppe Verdi. At a meeting between the four men,

Verdi was highly impressed by Illica’s scenario, yet de-

murred to the idea of treating it himself because of his ad-

vanced age. Tosca’s value now ratcheted up a few notches in

Ricordi’s eyes, and as Franchetti was soon to find difficulty

putting the tale to music, the wily publisher again looked to

his other protégé.

Puccini’s interest was also rekindled. The composer was

not shy about appropriating other composers’ projects (as

Manon Lescaut, La bohème, Madame Butterfly and Turandot at-test), and it is believed that when Franchetti came to blows

with Illica over setting the libretto, Puccini and Ricordi

conspired to trick him out of his rights, claiming that the

story was too racy and too violent for Italy’s conservative

opera-going audiences. Coincidentally, Fontana reappeared

with a new distraction, Zoroastro, for Franchetti to pursue

(likely Puccini’s former librettist still hoped to share in the

Tosca spoils). Yet, according to recent scholarship, Franchetti

is said to have willingly given up Tosca because he found it

unmusical, and there is a several-month gap in the written

correspondence between Puccini and Ricordi before there is

any mention of the former working on the project. In 1992,

however, during a revival of Cristoforo Colombo in North

America, Franchetti’s son Arnold disclosed his father had al-

ways believed “Puccini ‘stole’ the rights to Tosca from him,

with Ricordi’s help. Apparently, Ricordi convinced [the

elder] Franchetti that Tosca was not the piece for him, call-

ing it too dramatic, too bloody; that Franchetti was too

much of an aristocrat to write music such as Tosca required.”

(Letter to the Editor by Willy Anthony Waters, Opera News,April 2000).

Regardless of what-

ever happened, by

July 1895, Tosca was

safely in Puccini’s

care. Giuseppe Gia-

cosa was brought in to

polish up the libretto,

though he wou ld

gripe that the opera

was “more action than

poetry.” He and Illica

managed to stream-

line the play’s chatty,

densely detailed first

four ac t s into the

ope ra ’ s v e r i s t i c ,

swiftly moving Acts I

and II. The final act,

howeve r , p roved

problematic. In the

original draft, Cavaradossi was to sing a stirring, republican-

motivated aria as he faces the dawn of his execution. There

was then to be an extended duet between Tosca and Cavara-

dossi, and following the latter’s execution, the opera was to

end with a gran scena, a primo ottocento mad scene for the title

heroine. Sardou balked at the idea and insisted on his origi-

nal finale, with Tosca’s suicide. Puccini, being not terribly

political, changed Cavaradossi’s Act III aria to one more in

line with an artist’s farewell to love and life on earth, and the

duet was shortened to become “O dolci mani,” though Ri-

cordi was horrified to find shades of the failed Edgar in its

melodies.

Politics still seemed to enter into the picture on Tosca’s

opening night in January 1900. Italy was enduring the pains

of unification and its capital city was again in civil unrest

(not unlike the unsettled air of the opera’s setting a century

earlier). Just two years prior, there had been an uprising in

Milan during which 80 civilians had been massacred by

government troops, and King Umberto already had been

the target of at least two assassination attempts. He declined

to attend the premiere (though anarchists would still finish

him off within six months), sending instead his wife, Queen

Margherita, and several other important state dignitaries. As

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Background Notes continue on page 14

Act II from The Minnesota Opera’s 1998 production of Tosca[Elizabeth Byrbne (Tosca), Greer Grimsley (Scarpia)]

phot

o by

Gar

y M

orte

nsen

act iThe church of Sant’Andrea della Valle An-

gelotti, an escaped political prisoner,

seeks refuge in a family chapel – his sis-

ter, the Marchesa Attavanti, has left

him the key. The sacristan enters, mut-

tering about the mess the painter Mario

Cavaradossi is making. The artist soon

arrives, and the sacristan observes how

much the Magdalene in his painting re-

sembles a young woman (the Marchesa)

who has been visiting the chapel as of

late. Cavaradossi admits that he has used

her as a model, and muses over how her

blue eyes compare to the dark ones of his

lover, the opera singer Floria Tosca.

Left alone, Cavaradossi discovers An-

gelotti hiding and recognizes his good

friend. They are interrupted by the voice

of Tosca, and Angelotti takes cover once

again. When the diva finally enters, it is

clear she is prone to jealousy – she heard

voices and suspects a rival. Cavaradossi

reassures her, and they make a date later

that evening at a secret villa. Suddenly,

Tosca recognizes the visage in the paint-

ing as the Marchesa Attavanti and her

suspicions are renewed. The artist again

pledges his heart and agrees to paint the

eyes dark to match those of his lover.

Tosca leaves satisfied.

Angelotti reemerges and Cavaradossi

agrees to help him escape. He knows a

private route to the villa, and the March-

esa has provided woman’s clothing as a

disguise. The two men leave in haste.

The sacristan reenters with news of

Napoleon’s defeat at Marengo. He as-

sembles the choir to sing a Te Deum in

thanksgiving.

The chief of police Scarpia appears and

interrogates the sacristan about the es-

caped prisoner. He observes the un-

locked chapel and finds evidence of

Angelotti’s visit – Cavaradossi’s empty

lunch basket and the fan of the Atta-

vanti, part of the disguise but carelessly

left behind. The painter immediately be-

comes suspect. When Tosca returns to

tell Cavaradossi that she is no longer free

that evening, as she must sing in the cel-

ebratory cantata at the Farnese Palace,

Scarpia decides to use her jealousy to his

advantage. He shows her the fan, and

Tosca again becomes agitated. As she

hurriedly departs, police agents follow in

quick pursuit.

As the choir begins the Te Deum,

Scarpia savors his plan – Tosca’s lover

shall be sent to the gallows, while he

shall have his way with her.

— intermission —

act iiThe Farnese Palace At his headquarters,

Scarpia muses over his next moves. The

criminals shall soon be in his custody,

and he has sent word for Tosca to meet

with him after singing the cantata. Spo-

letta soon informs him that Cavaradossi

is in custody, but Angelotti is nowhere

to be found. Scarpia interrogates the

painter, who remains obstinate to his

questions. Tosca arrives presently, and

Cavaradossi is led into the next room.

Following her lover’s instructions,

Tosca first admits to know nothing of

Angelotti’s whereabouts. But as Cavara-

dossi ’s torture begins, his moans

weaken her resolve, and she soon reveals

that the escaped convict is hiding in the

well at the villa. Cavaradossi is again

brought into the room and curses

Tosca’s weak resolve. Suddenly, Sciar-

rone enters with news that Napoleon

was in fact victorious at Marengo, in-

vigorating the republican Cavaradossi,

to the annoyance of Scarpia. The painter

may gloat only a short while, for the

hangman’s noose awaits him at dawn.

Tosca begs Scarpia to spare her lover, and

Scarpia strikes a cruel bargain – he will be

released only if she will submit to one

night of passion. After some hesitation,

Tosca tearfully agrees to the plan and de-

mands Cavaradossi be freed at once. Scarpia

counters that the painter must be believed

to be dead and a mock execution “in the

manner of Count Palmieri,” he instructs

Spoletta, must take place. As he writes out

a safe conduct pass, Tosca spies a letter

opener on the table. When Scarpia goes to

embrace her, she stabs him to death.

— intermission —

act ii iThe platform of the Castel Sant’Angelo Just

before dawn breaks, Cavaradossi prepares

for his execution. He bribes the jailer with

his ring to deliver a message to Tosca. As

he begins to write, he wistfully recalls their

love affair. Moments later, she appears and

after showing him the safe conduct pass,

confesses her evil deed. She then details the

plan for the mock firing squad – he must

fall when he hears the shots and remain

lifeless until after the soldiers have left.

As the execution takes place, Tosca

watches from nearby and compliments

Cavaradossi on his acting ability. But she

soon learns Scarpia has had the last laugh –

the bullets were real and Cavaradossi is

dead. Surrounded by Scarpia’s henchmen,

Tosca climbs to the highest rampart and

jumps to her death.

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Act I from The Minnesota Opera’s 1998 production of Tosca [Geraldine McMillian(Tosca); Patrick Denniston (Cavaradossi)]

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aGiacomo Puccini

b Lucca, December 22, 1858; d Brussels, November 29, 1924

Puccini was born into a family of court composers and or-

ganists in the historic city of Lucca, Italy. With a strong

feeling of tradition in the

Puccini family, it was ex-

pected that Giacomo would

assume his deceased father’s

position as maestro di cappellawhen he came of age – by 14

he already was playing organ

in a number of the town’s

churches. But at age 18 a

performance of Verdi’s Aidainspired him to devote his

life to opera. In 1880 Puccini

began composition studies

with Amilcare Ponchielli at

the Milan Conservatory of

Music. There he was intro-

duced into the professional

artists’ circle, to which he

would belong for the rest of

his life.

Puccini was not a prolific

composer. Unlike most of his

contemporaries, there were

long intervals between his

operas, partly because of his

fastidiousness in choosing

subjects, several of which he

took up only to abandon after

several months, and partly

because of his constant de-

mands for modifications of

the texts. Much of his time, too, was spent in hunting in

the marshes around his home and in trips abroad to super-

vise revivals of his works.

The composer’s first work for the stage, Le villi (1884),

originally was submitted to a contest sponsored by the

music publisher Edoardo Sonzogno. The one-act opera re-

ceived not even honorable mention, but Puccini was certain

of its merit. He and librettist Ferdinando Fontana began to

canvass the opera to the broader circle of the Italian intelli-

gentsia. One of these individuals was the highly influential

Arrigo Boito (at that time in correspondence with Verdi

about the preparation of the libretto for Otello), who was in-

strumental in getting Le villi staged.

The reception to the new work was mixed, but the re-

vised two-act version was staged in a number of cities out-

side of Italy (a remarkable feat for a virtually unknown

composer). Puccini’s next opera, Edgar (1889), however,

was a resounding critical failure, yet the astute publisher,

Giulio Ricordi, found fault in the libretto only and promise

in the music. He pitted himself against the shareholders of

his publishing house who demanded that Puccini be re-

leased from retainer. Ricordi’s confidence was rewarded

with Manon Lescaut (1893), Puccini’s first true success.

During the 1890s Puccini

began working with Luigi Il-

lica, who worked out the

scheme and drafted the dia-

logue, and with the poet and

playwright Giuseppe Gia-

cosa, who put Illica’s lines

into verse. Although they

had participated in ManonLescaut (as part of a string of

several librettists), their first

real collaboration was La bo-hème (1896), followed by

To s c a ( 1900 ) and th en

Madame Butterfly (1904). Gia-

cosa died in 1906, putting an

end to the successful team

that produced three of Puc-

cini’s most enduring works.

Puccini’s later operas were

quite varied in their styles

and subjects. La fanciulla delWest (1910), set in the Amer-

ican West, is notable for its

advanced impressionistic or-

chestration and composition.

La rondine (1917) was de-

signed to be a sentimental

musical comedy in the Vien-

nese style. Il trittico (1918)

was a mixed bag of one-act

operas: Il tabarro, a tip-of-the-hat to Italian verismo; SuorAngelica, a nun embroiled in a battle for the future of her il-

legitimate child; and, most popular of the three, GianniSchicchi, a comic masterpiece that features Puccini at his

most exuberant.

Turandot (1926) was Puccini’s last (and arguably his

greatest) opera. He died before completing it, and although

another composer finished the job, at the premiere Arturo

Toscanini set down his baton and refused to continue past

Puccini’s last note.

Puccini has been much maligned for his flirtation with

popular music, but he had an uncanny feel for a good story

and a talent for composing enthralling yet economical

music. Though like many of his contemporaries, Puccini

constantly was experimenting with tonality and form, his

experiments were always subtle and without controversy.

Having produced only 12 operas, the composer’s personal

life was plagued with self doubt and laborious perfection-

ism, yet he profoundly influenced the world of opera with a

deep understanding of music, drama and humanity.

Giacomo Puccini, portrait by Arturo Rietti

Scala/Art Resource, NY

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•14 a result, there had been a bomb threat

to the theater, and in the event of an

explos ion, conductor Leopoldo

Mugnone was instructed to strike up

the Italian national anthem. Mugnone

was skittish, as he had witnessed such

an explosion seven years before in

Barcelona during a performance of

Rossini’s William Tell – 15 people had

died as a result. Shortly after the cur-

tain went up, there was indeed a dis-

turbance at the Teatro Costanzi,

causing Mugnone to rush backstage

for fear of his life, but he had overre-

acted – it was only pesky latecomers.

Critical reviews were initially harsh,

and Tosca has always enjoyed a tawdry

reputation as a sadistic melodrama, but

the opera has nonetheless been a

crowd-pleaser from the day of its in-

ception. In many ways Tosca is quintes-

sential Puccini, reflecting all that is

good about his style. In addition to

finely wrought melodies, terse, eco-

nomical writing and innovative orches-

tration, the composer took special care

to include authentic elements in his

works. For Tosca, he obtained the exact

pitch of St. Peter’s great campanello and

observed the breaking of dawn from

the ramparts of the Castel Sant’

Angelo, realistically creating the ring-

ing of the morning church bells for

the opening of Act III. For the shep-

herd’s song he obtained verses from

Giggi Zanazzo, a leading folklorist,

and set them in a vaguely distant Ly-

dian mode. In the Act I Te Deum,

however, he improvised somewhat,

still consulting ecclesiastical experts,

but adjusting the traditional prayer of

thanksgiving to his own devising, the

quiet chanting of the chorus underly-

ing Scarpia’s diabolical tirade spun

into one of the operatic genre’s most

powerful scenes.

Also part of Tosca’s naturalist allure

is its setting in existing Roman monu-

ments. The Church of Sant’Andrea

della Valle dates from the 17th century

and sports one of the largest domes,

second only to that of St. Peter’s Basil-

ica. It is just around the corner from

the Teatro Argentina where Tosca

would likely be rehearsing. The

Palazzo Farnese is not too far away, and

became the Roman home of the

Neapolitan Bourbons when Ferdinand

IV’s grandfather Philip V of Spain mar-

ried Elisabetta Farnese (it was origi-

nally built in 1589 for Alessandro

Farnese, who would become Pope Paul

III). The Castel Sant’Angelo is also in

the neighborhood. Once intended to

be the mausoleum for Emperor

Hadrian (76–138 a.d.), it was later

modified to become the fortress of the

popes and a jail for noble prisoners

(who, because of the castle’s lax secu-

rity, could easily escape). It earned its

title in 590 when Pope Gregory the

Great spotted the Archangel Michael

unsheathing his sword, thus ending a

devastating plague. In accordance with

Sardou’s original instructions, many

productions incorporate the statue that

commemorates this moment (as well

as the dome of St. Peter’s in the back-

ground), forgetting that if Tosca were

to leap from that particular parapet,

she would land on a terrace below

(rather than the Tiber river, as com-

monly believed) and could possibly

survive the fall in (fellow thespian)

John-Wilkes-Booth-style, giving rise

to the opportunity for a rather tanta-

lizing sequel.

Background Notes continued from page 11

Act III from The Minnesota Opera’s 1998 production of Tosca [Elizabeth Byrne (Tosca); Tonio di Paolo (Cavaradossi); Robert Schmidt (Spoletta)]

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

Seth KeetonSacristan

Minnesota Opera Resident ArtistRecently

Death in Venice; Lucie de Lammermoor, Glimmerglass Op.Carmen; Maria Padilla; Madame Butterfly; The Magic Flute; Passion; Lucrezia Borgia; Rigoletto, The Minnesota Opera

Amahl and the Night Visitors, Minnesota OrchestraLa 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

UpcomingDon Giovanni; Orazi; Elephant Man, The Minnesota Opera

Raymond AyersAngelotti

Minnesota Opera Resident ArtistRecently

Madame Butterfly, Nagasaki SymphonyNixon in China; Carmen; Maria Padilla, Madame Butterfly,

The Minnesota OperaFiddler; Faust; Susannah; Roméo et Juliette, Chautauqua Opera

Mirandolina; Madame Butterfly; The Seagull,Manhattan School of Music

UpcomingHansel and Gretel, Minnesota Orchestra

Don Giovanni; Orazi; Elephant Man, The Minnesota Opera

Lisa DaltirusTosca

Minnesota Opera DebutRecentlyIl trovatore; Aida, Connecticut OperaTosca, Michigan Opera Theatre; Opera Carolina;

New York City OperaAida, Opera Company of PhiladelphiaDie Fledermaus, Thessaloniki (Greece)L’enfant prodigue, Concertgebouw (Amsterdam)

UpcomingMargaret Garner; Porgy and Bess, Opera Co. of PhiladelphiaAida, Boston Lyric, Palm Beach, Michigan Operas

Bradley GarvinScarpia

Minnesota Opera DebutDon Giovanni, Sarasota Opera

Handel Messiah, Lyric Opera of ChicagoLe nozze di Figaro, Dayton Opera

Faust, Toledo OperaSalome, Fort Worth Opera; Arizona Op.; Kentucky Op.

La bohème, Arizona OperaRigoletto, Berkshire Opera

UpcomingLa bohème, El Paso Opera

Future appearances with Lyric Opera of Chicago

Galina GorchakovaTosca

Minnesota Opera DebutRecentlyThe Bells, BBC Symphony OrchestraCavalleria rusticana, Concertgebouw (Amsterdam)Tosca, Israel Philharmonic OrchestraNorma, San Diego OperaPique Dame, Bavarian State Opera; Deutsche Staatsoper BerlinEugene Onegin, Tanglewood Festival; Cologne OperaMadame Butterfly, Opéra National de Paris (Bastille)Iolanta, Royal Albert HallThe Fiery Angel, Teatro alla Scala

Kim JosephsonScarpia

Minnesota Opera DebutSamson et Dalila; Tales of Hoffmann, Metropolitan Opera

La fanciulla del West; Rigoletto, Seattle OperaIl trovatore, Vienna State Opera; Tulsa Opera

Madame Butterfly; A View from the Bridge, Metropolitan Opera

Madame Butterfly, La traviata, Lyric Opera of Chicago

UpcomingCyrano de Bergerac, Metropolitan OperaUn ballo in maschera, Cincinnati Opera

A View from the Bridge, Washington National Opera

William JoynerCavaradossi

Minnesota Opera DebutRigoletto, 1995

RecentlyCarmen, Cagliari (Sardinia); Santiago (Chile)Roméo et Juliette, Opera Lyra OttawaLa bohème, Florentine OperaRise and Fall of the City of Mahagonny, Rome OperaThaïs, Kentucky OperaMadame Butterfly, Indianapolis Opera

UpcomingCarmen, Florida Grand Opera; Santa Fe Opera

John Michael MooreSciarrone

Minnesota Opera Resident ArtistRecentlyGloriana; Madame Butterfly, Des Moines Metro OperaThe Merry Widow; The Magic Flute; The Seagull;

The Crucible; Carousel; Sweeney Todd; Beethoven Symphony No. 9; Handel Messiah; Elijah; Duruflé Requiem, Simpson College

UpcomingThe Magic Flute, Des Moines Metro OperaDon Giovanni; Orazi; Elephant Man, The Minnesota Opera

Edward MoutSpoletta

Minnesota Opera Resident ArtistFalstaff; Eugene Onegin, Indiana University Opera Theater

Norma; Fidelio; Rigoletto; Aida; Faust; Lohengrin; Macbeth; Verdi Requiem (ensemble), San Diego Opera

Apprentice Artist – Opera Theatre of St. LouisHandel Messiah, UCSD Chamber Singers

Gounod Sanctus, Solana Beach Presbyterian ChoirCarmina burana; Bach Cantata #191,

San Diego Chamber Singers

UpcomingDon Giovanni; Orazi; Elephant Man, The Minnesota Opera

Jeffrey SpringerCavaradossi

Minnesota Opera DebutRecentlyIl trovatore, Connecticut Opera; Michigan Opera TheatreThe Flying Dutchman, Anchorage OperaIl tabarro, Arizona Opera; Tampa OperaCavalleria rusticana, Op. Theatre of St. Louis; Manitoba Op.Madame Butterfly, Michigan Opera; Fort Worth OperaCarmen, Arizona Opera; Opera Omaha; Manitoba OperaBoris Godunov, Florida Grand Opera

UpcomingLa fanciulla del West, Opera Tampa

Gail BakkomCostume Designer

Minnesota Opera DebutThe Village Singer, 1982

RecentlyMaria Padilla; Lucretia 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

Michael CavanaghStage Director

Minnesota Opera DebutThe Magic Flute, 2004

RecentlyFaust, Tulsa OperaMadame Butterfly; Un ballo in maschera, Opera Lyra OttawaPagliacci/Cavalleria rusticana; Così fan tutte, Manitoba Op.La bohème; La traviata; Rigoletto, Arizona OperaLa fille du régiment; Carmen, Vancouver Opera

UpcomingDon Giovanni, Vancouver OperaLe nozze di Figaro, Manitoba Opera

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visit our website at www.mnopera.org

Miguel Harth-BedoyaConductor

Minnesota Opera DebutRecentlyAinadamar, Santa Fe Opera; Roméo et Juliette, Ft. Worth OperaEugene Onegin; Rusalka, Fort Worth SymphonyHeloïse et Abelard; Oedipus Rex; Le rossignol; Juilliard Opera Cen.I pagliacci, Auckland PhilharmoniaLe nozze di Figaro; La bohème; Xerxes; others, PeruIl tutore burlato, Music Festival of Gerace (Italy)

UpcomingLe rossignol, Curtis Opera; Falstaff, Forth Worth OperaThe Barber of Seville, Canadian Opera Company

Janice KimesChildren’s Chorusmaster

Minnesota Opera DebutHansel and Gretel, 1981

RecentlyCarmen; La bohème; Pagliacci/Carmina burana; Street

Scene; Turandot; Madame Butterfly; The Turn of the Screw; Tosca; The Magic Flute; Rigoletto; Bok Choy Variations; others, The Minnesota Opera

Founder and Artistic Director – Bel Canto Voices Macbeth; others (ensemble), The Minnesota Opera

Marcus DilliardLighting Designer

Minnesota Opera DebutTurandot, 1995

RecentlyThe Miser, La Jolla Playhouse; Carmen, Minnesota Opera

Carmen; Amerika, American Repertory TheatreAntigone; The Little Prince; Maria de Buenos Aires, Jeune Lune

UpcomingTurn of the Screw, U of M Opera; Mefistofele, Jeune Lune

Dialogues of the Carmelites, Fort Worth Opera

Awards2005 Ivey Award; 2003 masb, 1998 McKnight Fellowships

Andrew HornSet Designer

Minnesota Opera DebutLe nozze di Figaro, Ohio University

Tosca, Kentucky Opera; Michigan Opera TheatreLe nozze di Figaro, Opera Company of Philadelphia

The Merry Widow; The Mikado; Naughty Marietta, Light Opera Oklahoma

Amahl and the Night Visitors, Gulf Coast SymphonyCosì fan tutte, Baltimore Opera Studio

Abduction from the Seraglio; Maskarade, Bronx Opera Co.scenic design – Actors Theatre (Louisville); Berkshire Theatre Fest.; Los Angeles, Houston, Atlanta Operas

Bruce StasynaChorusmaster

Minnesota Opera DebutDer Rosenkavalier, 2000

RecentlyNixon in China; Carmen; others, The Minnesota OperaFidelio; Beethoven Symphony No. 9, Minnesota OrchestraDie ägyptische Helena, American Symphony OrchestraSweeney Todd, The Barber of Seville; Tito, Wolf Trap Opera

UpcomingCarmina burana, Avery Fisher HallShakespeare Unplugged, Dallas Art MuseumDon Giovanni; Orazi; Elephant Man, The Minnesota Opera

Peter KozmaAssistant Director

Minnesota Opera Resident ArtistLa tragédie de Carmen (SD); L’incoronazione di Poppea;

The Telephone (SD); Suor Angelica/Gianni Schicchi(AD),University of Texas Opera Theater (Austin)

L’Orfeo (SD), Budapest Chamber OperaDon Giovanni; Le nozze di Figaro; L’elisir d’amore; The Magic

Flute (SD), Ars Classica Chamber Opera (Gödöllo)Das Rheingold; Le nozze di Figaro; Madame Butterfly,

La Cenerentola; others (AD), Hungarian State Opera

UpcomingIl Signor Bruschino (SD); Don Giovanni (AD), Minn. Opera

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

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

Opera Nights Out: Tosca, November 12Don Giovanni, March 11Orazi & Curiazi, April 15Joseph Merrick, the Elephant Man,

May 20Opera Basics, January 27*

To join, visit www.mnopera.org, email us atypg@mnopera.org, or call us at 612.342.9550

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

Great Waters is theofficial venue for

Opera Nights Out

photo by Barbara Willis

*see page 20 for details

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Education at the Opera

The Minnesota Opera announces Pro-ject Opera, a new education program

for young singers. Following a year-long

exploratory partnership with The Min-

nesota Opera, Bel Canto Voices dissolved

with the retirement of its founder and

artistic director, Janice Kimes. The orga-

nization’s excellent girls choir programs

will continue effective immediately as

Project Opera, which will add boys

voices to its choruses in January 2006.*

“The Minnesota Opera has long held

as a goal the development of a quality

vocal performance program for young

singers,” said Dale Johnson, The Min-

nesota Opera’s artistic director. “Last sea-

son’s partnership showed a synergy of

values of our organizations’ high artistic

quality, excellent education and healthy

vocal training. We are thrilled to inherit

the Bel Canto Voices legacy, and the per-

fect way to celebrate Jan’s retirement is

to keep kids singing!”

The program features two choruses –

Ragazzi (grades 4–8) and Giovani

(grades 9–12). Long-time Opera chorus

member Dale Kruse, who also serves as

Armstrong High School’s choir director,

will direct Giovani, while former Bel

Canto Voices singer Emily Gergen will

direct Ragazzi. Both leaders were instru-

mental in creating the partnership be-

tween the organizations last season, and

their continued participation in these

roles ensures a seamless transition.

Project Opera is the newest compo-

nent of an expanding education program

for high school singers at The Minnesota

Opera. Its participants will perform in

the Ordway Center lobby prior to each

Sunday opera matinee, and Giovani will

present an age-appropriate opera at The

Minnesota Opera Center May 19–21,

2006. These students will also be invited

to attend the Opera’s student matinees,

its intensive Day at the Opera training

program, Opera Camp in summer 2006,

and the most talented singers of the

group will be asked to be in the High

School Apprentice Program, which in-

cludes individualized training and

singing with The Minnesota Opera Cho-

rus in mainstage productions.

The Minnesota Opera unveils “Project Opera”

Project Opera: Summer Camp – An Instant SuccessLast July The Minnesota Opera held its first summer opera camp for teens. It was a

week full of fun, music making and exploration into the world of opera. Participants

spent the week coaching and staging operatic scenes. The camp ended with two

standing-room-only performances. The next Project Opera: Summer Camp is slated

for July 2006.

Adult Education Opportunities

Opera Basics January 27, 2006 – 7:00-9:00 pmWhat is an aria? Why are they

singing in different languages? When

do you yell, “Bravo?” The Young Pro-

fessionals Group invites everyone ages

21-40 to a lively evening to learn

more about the basics of opera. OperaBasics will offer participants a hands-

on education about the who, what

and why of opera. Membership in

YPG is not required to attend.

Don Giovanni February 20, 2006 – 7:00-9:00 pmConsidered by many to be the perfect

opera, Don Giovanni has captivated

audiences ever since its premiere in

1787. With its beautiful music and

powerful drama, Mozart’s opera tells

the tale of the legendary Spanish

scoundrel and his demise. Join

Mozart scholar David Grayson from

the University of Minnesota to exam-

ine what elements make this master-

piece timeless.

These events will take place at the

Minnesota Opera Center. Cost is

$20/adult, $15/subscriber and/or

donor and $10/student (valid ID to

be shown at the door). To register for

these c la s se s , p lease ca l l

612.342.9575.

*We are looking for all interested boys in grades 4-12 to audition for Project Opera. Auditions will be held on November 19th at the Minnesota Opera Center.

To sign up for an audition or for more information about Project Opera, please call Angie Keeton at 612.342.9554 or email angie@mnopera.org.

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aGreat American Voices

The Minnesota Opera joins forces with the National En-

dowment for the Arts in the “Great American Voices

Military Base Tour: Unforgettable Melodies from Opera &

Broadway,” a national initiative cel-

ebrating the best of American arts

by bringing professional perfor-

mances of opera and musical theater

to military installations nationwide.

The week of November 14, The

Minnesota Opera’s Resident

Artists, artistic and education staff

will be in residence at Fort McCoy

near Sparta, Wisconsin, providing

concerts and educational programs

for military families and in area

schools. A highlight of the week

will be a public performance at Fort

McCoy on Tuesday, November 15.

“ Th e M i n n e s o ta O p e r a i s

thrilled to be joining this initia-

tive,” said President and CEO

Kevin Smith. “The military and their families continue to

make great sacrifices for their country, and providing high

quality entertainment and educational opportunities is a

great way for the arts community to give back.”

The Minnesota Opera joins more than 20 professional

opera companies that will conduct performances at 39

military bases around the country. The tour, which runs

from October 2005 through Au-

gust 2006, will feature selections

from popular operas such as

Bizet’s Carmen and Mozart’s DonGiovanni, as well as highlights

from classic American musicals

including Rodgers and Hammer-

stein’s Oklahoma! Performances

will be offered at no cost to the

base or to audience members.

Great American Voices Military

Base Tour is the latest in a series

of groundbreaking partnerships

between the NEA and the De-

partment of Defense, and is pre-

sented in coordination with the

Department o f Defense and

OPERA America. Great Ameri-

can Voices Military Base Tour is made possible by The

Boeing Company.

For the latest tour information and sample educational

materials, visit www.greatamericanvoices.org.

Act II from The Minnesota Opera’s 2005 production of Carmen [Scott Piper (Don José);Rinat Shaham (Carmen)]

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The Minnesota Opera OrchestraViolin I Kristen Christensen

concertmasterJulia Persitz

David Mickens

Allison Ostrander

Judy Thon-Jones

Kari Giles

Andrea Een

Angela Hanson

Connor O’Brien

Miriam Griffiths

Violin II Laurie Petruconis

Elizabeth Decker

Stephan R. Orsak

Melinda Marshall

Carolin Kiesel Johnson

Margaret Humphrey

Megan McClendon

Helen Foli

Viola Vivi Erickson

Laurel Browne

Jenny Lind Nilsson

Susan Janda

Jim Bartsch

Coca Bochonko

Cello Jim Jacobson

Rebecca Arons

Thomas Austin

Sally G. Dorer

Dale Newton

Joe Englund

Bass John Michael Smith

Constance Brown

Michael Watson

Jason Hagelie

Flute Michele Frisch

Amy Morris

(double piccolo)

Casey Kovacic

(double piccolo)

OboeMarilyn Ford

Sarah Boyle

English HornMerilee Klemp

ClarinetSandra Powers

Nina Olsen

(double bass clarinet)

Bass ClarinetJoAnn Polley

BassoonCoreen Nordling

Laurie Hatcher Merz

ContrabassoonCheryl Kelley

HornCharles Kavalovski

Charles Hodgson

Neal Bolter

Lawrence Barnhart

TrumpetJohn G. Koopmann

Christopher Volpe

Pamela Humphrey

TrombonePhillip Ostrander

Sue Roberts

David Stevens

TubaRalph Hepola

TimpaniKory Andry

Percussion Paul Hill

Robert Adney

HarpMin Kim

Personnel ManagerSteve Lund

The Minnesota Opera ChorusAlison Bates*

Karen Bushby

Lisa Butcher

Theodore Chletsos*

Steven Dahlberg

Carole Finneran

Rachel Frazin

Peter Frenz

Tracey Gorman

Anna-Lisa Hackett

Catherine Haugen

Paul Hindemith

James Howes

Ben Johnson

Charles Johnson

Tor Johnson

Brian Jorgensen

Jennifer Josephsen

Mark Josephsen

Shirley Leiphon

Michelle Liebl

Elizabeth Longhurst

Jeffrey Madison

Eric Mahutga

Mary Monson

Aja Pridgen

Dominick Rodriguez

Sandy Schoenecker

Michael Schaefer

Joy Scheib

Robert Schmidt

Martin Swaden

Joel Swearingen

Eric Vollen

Children’s ChorusLiam Bambery

Romnick Bilderback

Amanda Chen

Maria Diez

Conor Finnerty-Esmonde

Liza Karachunski

David Nelson

Jack Strobel

Oskar Theriault

Robert Verhoye

Benjamin Westphal

Tess Winker

SupernumerariesDavid Allyn

Peter Brandenhoff

Jacob Dehon

Gene Duenow

Christian Finch

Curtis Fox

Jim Fulford

Phil Greenberg

Dan Gregg

Joshua Hanson

Nathan Lassen

Derek Long

Kyle Roman

Mark Rossman

Matt Sudduth

Tom Sweeney

Resident Artist covering principal role

Theodore Chletsos —

Cavaradossi

*Resident Artist

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www.spencerstuart.com

spencer stuartis proud to support The Minnesota Opera

we are pleased to present guest conductor

maestro miguel harth-bedoya in the minnesota

opera’s production of tosca.

National Council Auditions

Minnesota District Auditions November 12, 10am at Ordway

Center for the Performing Arts

Master Class with Met Baritone

Mark Oswald

November 13, 1pmLloyd Ultan Recital Hall, University of

Minnesota School of Music

Upper Midwest Regional AuditionsFebruary 18, 12 noon Ted Mann Concert

Hall, University of Minnesota,

West Bank Campus

All auditions events are free and open to thepublic. Call Margaret Houlton, MN District

Director, for more information (952)-938-6908or go to our website at

www.studiobridge.com/metauditions

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The Minnesota Opera Annual FundIndividual Giving

Platinum $7,500–$9,999Jane M. and Ogden W. ConferRolf and Nancy EnghN. Bud and Beverly Grossman

FoundationSharon and Bill HawkinsBryce and Paula JohnsonTimothy and Gayle OberMr. and Mrs. Steven RothschildBernt von Ohlen and

Thomas Nichol

Gold $5,000-$7,499Anonymous (1)Eric and Tracy AanensonDr. James E. and

Gisela CorbettSusan and Richard CrockettMary Dearing and Barry LazarusDavid and Vanessa DaytonSally J. EconomonChip and Vicki EmeryBrad and Diane EnglandMr. and Mrs. John ForsytheConnie Fladeland and

Steve FoxDenver and Nicole GilliandAlfred and Ingrid Lenz Harrison

Kristin Hayes and Greg SochackiKaren and John HimleConstance and Daniel KuninIlo and Margaret LeppikMr. and Mrs. B. John Lindahl, Jr.Ms. Becky MalkersonTed and Roberta Mann

FoundationDiana and Joe MurphyElizabeth Musser Trust—

Fir Tree FundAlbin and Susan NelsonNelson Family FoundationBrian and Julia PalmerMr. and Mrs. Steven RothschildKevin and Lynn SmithMitchell and Kendall StoverCatie Tobin and Brian NaasCharles Allen Ward Fund of

The Saint Paul Foundation

Silver $2,500–$4,999Anonymous (2)Chloe D. AckmanMartha and Bruce AtwaterDr. Ford and Amy BellDavid Hanson and William BiermaierAlexandra O. Bjorklund

Rachelle Dockman ChaseCleveland FoundationDr. Stephen and Beth CragleJohn and Arlene DaytonMary Lee DaytonThomas and Mary Lou DetwilerRondi Erickson and Sandy LewisTom and Lori FoleyLeslie and Alain FreconChristine and W. Michael GarnerMr. and Mrs. R. James GesellMeg and Wayne GisslenMrs. Myrtle GretteThe Hackensack Fund of the Saint

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

James P. RichardsonJay and Cynthia IhlenfeldDale A. JohnsonJacqueline Nolte JonesRobert and Susan JosselsonStan and Jeanne KaginSamuel L. Kaplan and

Sylvia Chessen KaplanErwin and Miriam KelenMichael F. and Gretchen G. Kelly and

the Kelly Family FoundationMrs. James S. Kochiras

Sid and Diane L. LevinDavid MacMillan and Judy KrowMary K. Mahley Family FoundationRoy and Dorothy Ann MayeskeJames and Judith MellingerRichard and Nancy Nicholson –

Nicholson Family FoundationDwight D. OppermanWilliam and Barbara PearceMarge and Dwight PetersonMr. and Mrs. William PhillipsStephanie Prem and Tom OwensPaul and Mary ReyeltsLois and John RogersKen and Nina RothchildE. Elaine and Roger SampsonKay Savik and Joe TashjianFred and Gloria SewellDrs. Joseph and Kristina Sha∂erFrank and Lynda SharbroughJulie Jackley SteinerMr. and Mrs. James SwartzGregory C. SwinehartTanrydoon Fund of The Saint Paul

FoundationWilliam Voedisch and

Laurie CarlsonNancy and Ted Weyerhaeuser

Camerata Circle

Bel Canto CirclePlatinum $20,000 and aboveMary and Gus BlanchardEllie and Tom Crosby, Jr.Julia W. DaytonJohn and Ruth HussLucy Rosenberry JonesPatricia LundStephanie Simon and

Craig BentdahlMary W. Vaughan Fund of

The Minneapolis Foundation

Gold $15,000–$19,999Darlene J. and

Richard P. CarrollDolly J. FitermanHeinz and Sisi HutterEstate of Edith J. MuellerMrs. George T. PennockRobert and Barbara StruykC. Angus and Margaret Wurtele

Silver $10,000–$14,999Anonymous (2)Karen BachmanRebecca Rand and

E. Thomas BingerRod and Susan BorenMrs. Thomas B. CarpenterRusty and Burt CohenCy and Paula Decosse Fund of

The Minneapolis Foundation The Denny Fund of

The Minneapolis FoundationSara and Jock Donaldson

The Art and Martha Kaemmer Fund ofHRK Foundation

Warren and Patricia KellyPeter J. KingLynne LooneyThomas and Barbara McBurneyHarvey T. McLainMary Bigelow McMillanMrs. Walter MeyersBruce and Sandy NelsonJose Peris and Diana GuldenElizabeth and Andrew RedleafConnie and Lew RemeleVirginia L. and

Edward C. Stringer

$1,000–$2,499Anonymous (4)Floyd AndersonPaula AndersonKim A. AndersonLowell Anderson and Kathy Welte John Andrus, IIICheryl Appledorn and

Thomas SchnettlerMartha Goldberg Aronson and

Daniel AronsonMr. and Mrs. Edmund P. BabcockDr. Thomas and Ann BagnoliJohn and Jennifer Bernstein Jan and Ellen BreyerJudith and Arnold BrierConley Brooks Family

Elwood F. and Florence A. CaldwellBruce and Deanna CarlsonJoan and George CarlsonJoe and Judy CarlsonBruce Coppock and Lucia MayMrs. Thomas M. Crosby, Sr.Ruth and Bruce DaytonAmos and Sue DeinardMona Bergman Dewane and

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

The Minneapolis FoundationSusan Engel and Arthur EisenbergEster and John FeslerSalvatore S. Franco

Patricia R. FreeburgBradley A. Fuller and

Elizabeth LincolnDavid and Kathy GalliganRichard GeyermanLois and Larry GibsonHoward and Heidi GilbertPaul and Margot GrangaardRosalie He∂elfinger Hall Fund of

The Minneapolis FoundationMarthajane HapkeDon HelgesonJohn S. and Rosmarie HellingSarah HenryNancy and Doug HeltneCli∂ton K. HillBill and Hella Mears Hueg

Mr. and Mrs. Thomas HullMr. and Mrs. Philip IsaacsonMr. and Mrs. James L. JelinekLinda JohnsonMarkle KarlenJessie L. KellyLyndel and Blaine KingE. Robert and Margaret V. Kinney

Fund of The Minneapolis FoundationKenneth Kixmoeller and Kim OtnessMr. and Mrs. William KlingLisa C. KochirasMaria KochirasKyle Kossol and Tom BeckerRobert L. Kriel and Linda E. KrachHelen L. KuehnAnita Kunin

Artist Circle

It is with deep appreciation that The Minnesota Opera recognizes and thanks all of the individual donors whose annual

support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose

leadership support provides the financial foundation which makes the Opera’s artistic excellence possible.

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

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aThe Minnesota Opera Annual Fund

Individual Giving

Gold $750–$999Quentin and Mary AndersonMr. and Mrs. Carl ClesslerJoe Dowling and Siobahn ClearyDrs. Greg and Angie HatfieldJohn and Jean McGough HoltenDavid and Sally HyslopJames and Nancy PhelpsJim ScarpettaThe Harriet and Edson Spencer Fund

of The Minneapolis FoundationKeith and Catherine Stevenson

Silver $500–$749Fred Amram and Sandra BrickWoodbury H. and Cynthia Andrews

Genevive AntonelloRuth and Dale BachmanJames and Gail BakkomMrs. Harvey O. BeekGerald and Phyllis BensonMr. and Mrs. Paul G. BoeningThomas and Joyce BrucknerDaniel and Christine BussC.D.F. FoundationJoann M. D. CierniakEdward Conway and Kathleen JerdeRoxanne and Joseph CruzBill and Kate CullenJoyce and Hugh EdmondsonHerbert and Betty FantleCatherine C. Finch

Henry and Anice FleshTerence Fruth and Mary McEvoy Family

Fund of The Minneapolis FoundationDr. Stanley M. and Luella G.GoldbergDeanne and John GrecoSarah GreenMarjorie and Joseph GrinnellBruce and Jean GrussingRuth E. HanoldDiane and Paul JacobsonAndrzej and Urszula JaworskiDr. and Mrs. Charles R. JorgensenJane and Jim Kaufman Fund of

The Minneapolis FoundationMichael W. KienlenSteve and Jolie Klapmeier

Roy and Mary LetourneauJoan E. MaddenC. S. McCrossanSheila McNallyL. David MechWilliam MesserliTheresa A Murray and Jim MurrayPaul C. MuzioJoan and Richard NewmarkLowell and Sonja NoteboomLuis Pagan-CarloPaula PatineauWilliam and Suzanne PayneKern and Kathryn PetersonNicole and Charles PrescottLawrence M. Redmond

Patron Circle

Mark and Elaine LanderganRobert L. Lee and Mary E. Scha∂nerCarl Lee and Linda Talcott LeeSusan LentheStefanie Lenway and Tom Murtha Diane and Sid LevinMichael and Diane LevyJerry and Joyce LillquistBenjamin Y. H. and Helen C. LiuBill LongDawn M. LovenMr. and Mrs. Donald LuckerMargery Martin

Lois and Rick MarshGilah Mashaal Samuel D. and Patricia McCulloughThe Honorable and Mrs. Walter MondaleSandy and Bob MorrisMrs. John H. MyersSusan OkieKelly and Michael PalmerAllegra ParkerKaren B. PaulWilliam and Suzanne PayneJodi and Todd PetersonMary Ingebrand Pohlad

James and Connie PriesRobert and Mary PriceTim and Elin RaymondFrances and George ReidKit Reynolds and Mike SchwimmerJohn and Sandra RoeMrs. John C. RowlandLeland T. Lynch and Terry Saario Fund

of The Minneapolis FoundationPatty and Barney SaundersDr. and Mrs. Richard J. SchindlerStanislaw and Krystyna SkrowaczewskiJe∂ and Helene Slocum

Don and Leslie StilesJames and Susan SullivanHenry and Virginia SweattMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonMr. and Mrs. Philip Von BlonFred and Ellen WellsMs. Wendy Wenger

Artist Circle (continued)

continued on page 28

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These lists are current as of September 1, 2005, and include donors who gave gifts of $500 or more to The Minnesota Opera Fund since July 1, 2004. If your name is not listed appropriately, please accept our apologies, and call Megan Stevenson, Individual Gifts Associate, at 612-342-9569.

Anonymous (2)Mary A. AndresMr. and Mrs. Rolf AndreassenKaren BachmanMark and Pat BauerBarbara and Sandy Bemis (†)Darlene J. and Richard P. CarrollJudy and Kenneth (†) DaytonMrs. George DotyRudolph Driscoll (†)Sally Economon

Paul FroeschlRobert and Ellen GreenIeva Grundmanis (†)Norton M. HintzCharles HudginsDale and Pat JohnsonRobert and Susan JosselsonMrs. Markle Karlen (†)Steve KellerBlaine and Lyndel KingGretchen Klein (†)

Bill and Sally KlingGisela Knoblauch (†)Mr. and Mrs. James KrezowskiRobert Kriel and Linda KrachRobert Lawser, Jr.Jean Lemberg (†)Gerald and Joyce LillquistMargaret L. and Walter S. (†) MeyersEdith Mueller (†)Scott PakudiatisSydney and William Phillips

Mrs. Berneen RudolphMary SavinaFrank and Lynda SharbroughAndrew H. Stewart, Jr.Barbara and Robert StruykStephanie Van D’EldenMary VaughanDale and Sandra Wick

The Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in

their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If you

have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity.

For more information on possible gift arrangements, please contact Dawn Loven, Director of Individual Gifts, at

612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you.

Estate and Planned Gifts

Ann M. RockThomas D. Rohde and

Nancy J. RohdeJames and Andrea RubensteinBill and Janet SchaederMahlon and Karen SchneiderBill and Althea Sell

Janet and Irving ShapiroJohn SpokesDaniel and Marilyn SpiegelWarren StortroenDana and Stephen StrandEmily Anne and Gedney TuttleAllan Valgemae and Robert Harding

Will and Li VolkElaine B. WalkerThe Wallin FoundationDavid M. and Mary Ann

Barrows Wark

James and Sharon WeinelFrank and Frances WilkinsonLani Willis and Joel SpoonheimMary Wong

Patron Circle (continued)

The Minnesota Opera Annual FundIndividual Giving

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Corporations and Foundations

Minnesota Opera Sponsors

Bel Canto $10,000+3MAllianz Life Insurance of North AmericaAmeriprise FinancialAndersen FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationThe Bush FoundationCargill FoundationDeloitteDeluxe Corporation FoundationDorsey & Whitney FoundationEcolab FoundationGeneral Mills FoundationLowry Hill Private Wealth ManagementThe MAHADH Fund of HRK FoundationThe McKnight FoundationThe Medtronic FoundationOPERA America’s Opera FundPentair, Inc.Piper Ja∂rayRBC Dain Rauscher FoundationSpencerStuartSt. Paul TravelersSUPERVALU Stores, Inc.Target FoundationThrivent Financial for Lutherans Twin Cities Opera GuildU.S. Bancorp FoundationU.S. Bank, Private Client GroupU. S. Trust Company Valspar FoundationWells Fargo Foundation MinnesotaWenger Foundation

Gold $5,000-$9,999Alice M. O’Brien FoundationADC TelecommunicationsAT&T FoundationBemis Company FoundationBriggs and MorganFaegre & BensonJostens, Inc.Lindquist & VennumR. C. Lilly FoundationOnan Family Foundation

Carl and Eloise Pohlad FoundationRahr FoundationXcel Energy Foundation

Silver $2,500-$4,999Beim FoundationBoss FoundationBuuck Family FoundationDellwood FoundationHutter Family FoundationMargaret Rivers FundMary Livingston Griggs and Mary Griggs Burke

FoundationPeregrine Capital ManagementSchwegman, Lundberg, Woessner & Kluth, PATennant FoundationThomson WestTozer Foundation

Artist Circle $1,000-$2,499Arts & Custom Publishing Co., Inc.Brock-White Co., LLCThe Burdick-Craddick Family FoundationCharles B. Sweatt FoundationCurtis L. Carlson Family FoundationDigital Excellence, Inc.GREC, LLCGunkelmans Interior DesignHammel, Green and Abrahamson, Inc.Hogan & HartsonHorton, Inc.Lawrence M. and Elizabeth Ann O’Shaughnessy

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

Season SponsorU.S. Bank, Private Client Group

Production SponsorsTosca, U.S. Bank, Private Client Group

Don Giovanni, Target

Joseph Merrick, the Elephant Man, Ameriprise Financial

Production Innovation SystemGeneral Mills

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

Marshall Field’s Gives

Okabena Advisors

RAP Teaching ArtistsWenger Foundation

Conductor AppearancesSpencerStuart

Evening Intermission SponsorLowry Hill Private Wealth Management

Promotional SupportMinnesota Monthly

Opera InsightsThrivent Financial for Lutherans

$10,000 – $24,999

$25,000 – $49,000

$50,000 – $99,000

$100,000 +

The Minnesota Opera gratefully acknowledges

its major corporate supporters:

The Minnesota Opera Annual FundInstitutional Giving

GovernmentCity of Saint Paul’s Cultural STAR ProgramMinnesota State Arts BoardNational Endowment for the Arts

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Nov 5, 6, 8, 10, 11, 12, 13

The Minnesota Opera

Tosca by Giacomo Puccini

Heart-pounding drama, intense passion

and soaring melodies combine in one

of Puccini's greatest operas.

Main Hall $32 - $120

Tues, November 15, 8pm

The Schubert Club

Barbara Bonney, soprano

Angelika Kirchschlager,

mezzo-soprano

Fri, Nov 18, 10:30am & 8pm

Sat, Nov 19, 8pm

The Saint Paul Chamber Orchestra

Bell plays Beethoven

Joshua Bell, director/violin

Sun, November 20, 5pm

planet Ordway® TARGET® Season

Joanne Shenandoah

Original compositions, combined with

a striking voice, enable her to embellish

the ancient songs of the Iroquois using

a blend of traditional and contemporary

instrumentation.

Main Hall $20 - $26

Fri, November 25, 8pm

The Saint Paul Chamber Orchestra

Jazzed-Up Fridays

Anderszewski plays Mozart and Haydn

Piotr Anderszewski, conductor/piano

Sat, November 26, 8pm

The Saint Paul Chamber Orchestra

Anderszewski plays Bartók, Haydn,

and Mozart

Piotr Anderszewski, conductor/piano

Sun, November 27, 7pm

planet Ordway® TARGET® Season

Leo Kottke

An Ordway Center tradition since

1985, Leo Kottke brings his

immeasurable talent and delightful

wit and humor to Ordway Center

every year for the holidays.

Main Hall $26 - $33

ORDWAY CENTER651-224-4222 ordway.org

THE MINNESOTA OPERA651-224-4222 mnopera.org

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

THE SCHUBERT CLUB651-224-4222 schubert.org

On stage atOrdway Center