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Contents

The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson

Chair, Board of Directors Susan Boren

The Minnesota Opera, 620 North First Street

Minneapolis, MN 55401 (612) 333-2700

www.mnopera.org

The Minnesota Opera

is a member of OPERA America.

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

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

May 2004

The Minnesota Opera Programis published by Arts & Custom Publishing

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.10001 Wayzata Blvd., Minneapolis, MN 55305

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

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

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

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

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

Board of Governors 1964 – 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

The Magic Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

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

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

Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Emanuel Schikaneder, Mozart and the Masons . . . . . . . . . . . . . . 15

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

Resident Artist Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

The Minnesota Opera Chorus & Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . 22

The Minnesota Opera 2004–2005 Season . . . . . . . . . . . . . . . . . . . . . . 23

Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

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

The Bush Foundation Challenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

NewShanghaiCircus(China)Saturday, June 5 – 11 a.m. and 1 p.m.Sunday, June 6 – 11 a.m. and 1:30 p.m.Ordway Center Main Hall$11, $15, $17; children 3 & under, half price

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Minnesota Opera StaffPresident & CEO Kevin SmithArtistic Director Dale Johnson

Welcome to The Minnesota Opera’s 2003 –2004 season and today’s production of The Magic Flute. Since its inception in 1963,The Minnesota Opera has continued to buildand enrich the cultural life in our community byproducing outstanding and innovative operasand opera education programs that inspireand entertain. The U.S. Bank Private ClientGroup is proud to sponsor the 2003 – 2004season. Sponsoring the opera season is justpart of our commitment to the arts and thequality of life in our community. This year’sopera season celebrates the singer. However,every production involves an ensemble of indi-viduals committed to a common goal. Fromthe conductor to the costume designer, theteam’s objective is to enhance the singer’sability to convey emotion beautifully. At theU.S. Bank Private Client Group, we also em-brace teamwork. Our team is comprised of in-dividuals who are committed to meeting thefinancial needs of our clients. And it is theclient who is at the center of all we do. We’reproud of our partnership with The MinnesotaOpera and to be part of the team effort you’reabout to experience. Enjoy the performance.

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

Katie PreissnerHead of Music . . . . . . . . . .Bruce StasynaCoach/Accompanist . . . . . . . .Julian WardResident Artist Singers . . . .Matt Boehler,

Jeremy Cady, Genevieve Christianson, Liora Grodnikaite, Anna Jablonski,

Seth Keeton, Daniel Montenegro, Evelyn Pollock, Andrew Wilkowske,

Karin Wolverton Resident Artist Assistant Conductor . . . .

Christopher ZemliauskasResident Artist Faculty . .Doug and Miriam

Scholz-Carlson, Nancy TibbettsTeaching Artist . . . . . . . .Angie ShadwickKIDS . . . . .Jeremiah Alto, Christy Anderson,

Mario Diaz-Moresco

CostumesCostume Director . . . . . . . .Gail BakkomAssistant Costume Director . . .Beth SandersDrapers . . . . . . .Chris Bur, Yancey ThriftFirst Hands . . . . . . . . .Helen Ammann,

Mark HeidenStitchers . . . . . . . . . . .Jennifer DawsonPainter . . . . . . . . . . . . . . . . . . .Marliss JensenWig/Makeup Assistants . . . . . . . .Jodi Heath,

Chuck Lapointe, Sarah Opstad, Emily Rosenmeier

SceneryScenic and Lighting Director . . Tom MaysTechnical Supervisor . . . . . . . . . Mike McQuistonScenic Administrator . . . Holly CarpenterProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongCharge Painter . . . . . . . . . . Debra JensenProduction Carpenter . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . . . . . Eva PranisAssistant Lighting Designer . .Nicole Simoneau

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

Steve MittelholtzHR/Accounting Manager . . Jennifer ThillExecutive Assistant . . . . . Theresa Murray

DevelopmentDevelopment Director . . .Patrick DewaneIndividual Gifts Director . . . . .Dawn LovenInstitutional Gifts Manager . . . Jaime MeyerDonor Relations Coordinator . . Melissa PetersonDevelopment Assistants . . .Kelly Classen,

Claire MacDonald

Marketing/CommunicationsMarketing Director . . . . . . . . . . .Carl LeeCommunications Director . . . Lani WillisTicket O∑ce Manager . . . . Andrea CorichTicket O∑ce Assistant . . . . .Carol Corich

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

Harry D. Swepston, III

(Volunteer Chair)

Ann AlbertsonLaurel AndersonGerald BensonColleen BoyerLinda BrandtJim Brownback*Sue BrownbackJerry CassidyJoann CierniakSusan CoggerCaroline

CoopersmithLindsay CraigBeverly DaileyLee DrawertJudith DuncanSally Economon

Mary Sue FiolaHazel FrancoisJane Fuller*Joan Gacki*Christine A. GarnerJuhi Gupta-Gulati*Mark GustinMary E. HagenLucinda HalletJohn Harris*Kristen HeimerlAnne HesselrothAlisandra JohnsonKaren JohnsonNancy JohnsonJeanie JohnstonSusan KalmerRobin KeckDianne KellyRemigijus Klyvis

Sam KneiszlerEleanore KolarLucinda LamontShirley LarsonRita LavinLisa LiveringhouseAbby MarierMargery MartinJoan MasuckMary McDiarmid*Beth McGuireVerne MelbergWarren MitlyngIrma MonsonLinda MoreyDoug MyhraDan PanshinPat PanshinMegan PelkaSydney Phillips

Bill PhillipsJulia PorterJack RichterJohn RosseFlorence RuhlandJohn Sauer*Christine SawatskyMichael SilhavyWendy SilhavyAngie SolomonWendi SottDawn StafkiNicholas TrimboDoris UngerCarolyn WahteraBarbara Willis*Jeremy WrightMelissa Zschunke

*Lead volunteer

Cafe,Bakery,Wine & Pizza Bar

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Keri Picket

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Welcome to The Magic Flute. We’re de-

lighted to have you with us.

You may not realize that ticket revenue

covers only half the cost of producing

the opera you are enjoying today. This

means we are dependent upon contribu-

tions from our audience to continue

to operate.

There is no better time to give to the Opera, since the Bush

Foundation will double your gift! The Bush Foundation

has pledged $650,000 over the next three years in a chal-

lenge gift that you can read about on page 28. This is a

challenge to you, our patrons – the Opera must raise

$150,000 in new and increased gifts before June 30 of this

year.

Our work is drawing world-wide attention, as you will read

on page 29, and the Bush Foundation challenge will build

the funding base to support continued success.

In this program is a list of our many generous contributors.

If your name is not on that list, please consider giving to

The Minnesota Opera. If you are on that list already, we ap-

preciate your ongoing commitment to the company, and

we ask that you increase your contribution. Every new dol-

lar will be matched and will count toward the Bush chal-

lenge, helping to ensure our long-term artistic growth.

This is an exciting time, and this challenge gift from the

Bush Foundation will have a profound impact on the Min-

nesota Opera. Help us meet the challenge!

Kevin Smith

President

Kevin Smith

President & CEO

Welcome to the final production of The Minnesota Opera’s

2003-2004 season – The Magic Flute! We’re glad you got a

ticket to what we expect to be a sold-out production of a

beautiful show.

You will hear some new singers in these performances, as

well as lots of very familiar faces – this production is the

culmination of an intensive training process for our Resi-

dent Artists, all of whom are featured prominently in both casts.

Next season opens in November with Puccini’s Madame Butterfly, one of the

best-known operas of all time. We continue in the spring with Maria Padilla,

by Donizetti (the Bel Canto-era composer who wrote this season’s LucreziaBorgia), followed by another legendary work, Bizet’s Carmen. Next year at this

time we hope you will be in your seat for the Twin Cities premiere of John

Adams’s Nixon in China, an operatic exploration of Nixon’s historic trip that

changed the face of U.S. relations in Asia and of the media’s role in shaping

history.

If you are a subscriber and have already renewed, congratulations! If you have

not yet subscribed, do it today! We are expecting ticket inventory to be tight,

and a subscription is the only way to guarantee yourself a seat to our perfor-

mances. You won’t want to miss a beat.

Dale Johnson

Artistic Director

Board of DirectorsKaren Bachman

Richard P. Carroll

Susan J. Crockett

Ellie Crosby

Rolf Engh

Brad F. England

John G. Forsythe

Steve Fox

R. Thomas

Greene, Jr.

Dan E. Gustafson

Sharon Hawkins

Heinz Hutter

Paula Johnson

Lucy Rosenberry

Jones

Michael F. Kelly, Jr.

Sarah B. Kling

Lynne E. Looney

Elizabeth “Becky”

Malkerson

Thomas R.

McBurney

Diana E. Murphy

Bruce Nelson

Brian E. Palmer

Jose Peris

Connie Remele

Steven M.

Rothschild

Virginia L. Stringer

Catie Tobin

OfficersSusan S. Boren,

ChairJohn A. Blanchard,

III, Vice ChairLucy T. Searls,

SecretaryThomas J. Foley

TreasurerKevin Smith,

President & CEO

Julia W. Dayton,

Director EmeritusMary W. Vaughan,

Director EmeritusJames A.

Rubenstein, legalcounsel, Moss &

Barnett

Honorary DirectorsDominick Argento

Philip Brunelle

Elizabeth Close

Dolly Fiterman

Charles C. Fullner

Norton M. Hintz

Donald W. Judkins

David P. Keefe

Liz Kochiras

Jevne Pennock

Patricia H. Sheppard

Notes from the Leadership

from the Artistic Director

from the President

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Margaret Aanenson†

Timothy Admonius

Mrs. Douglas C. Anderson

Lowell Anderson

Rolf Andreassen, MD

Cynthia A. Andrews

August Aquila

Judee Arnstein

Martha Goldberg Aronson

Karen Bachman

H. John Badenhoop

H. Wesley Balk†

Kenneth G. Baltes, Ph.D.

Patricia Bauer

Thomas Bastasz

Ford Watson Bell

Barbara Bemis†

Judson Bemis†

Jonathan S. Bishop, MD

Marie Blakeman

John A. Blanchard, III

Mark Boeyink

Susan S. Boren

Ron Bosrock

Anthony Bouza

Virginia Broberg

Wayne Brock

Mary Broderick, Ph.D.

Charles E. Brown

Donald P. Brown

Ellis Bullock, Jr.

Sandra K. Butler

M. Claire Canavan

James F. Carroll

Richard P. Carroll

Joseph Cascalenda

Richard Cascio

Yvonne Cheek

Warren B. Cheston

Laura Chin

Mrs. Charles Chrisman

Edward Clapp

Charles Cleveland

David E. Cleveland

Elizabeth Close

Bobby Cohen

Burton D. Cohen

Mrs. John Colwell

David Cooper

Earl D. Craig, Jr.

Robert Crawford

Susan J. Crockett

Ellie Crosby

Gail Dahlstrom

Mrs. John S. Dalrymple

Frank Dawe

Julia W. Dayton

Larry Degen

Richard J. Diedrich

Gerald R. Dillon

Robert Dircks

Kathleen Dougherty

Robert C. Drake

Bruce Earls

Ralph Ebbott

James Elsesser

Robert H. Engels

Kathy Enger

Rolf Engh

Brad F. England

Edward N. Eschbach

Gladys Field

Gary Fink

Richard M. Fishel, Jr.

Dolly Fiterman

Henry Flesh

Thomas J. Foley

John G. Forsythe

Steve Fox

Martin Friedman

Eric Friesen

Leslie Frécon

David W. Frost

Frank Garner

Ludwig B. Gartner, Jr.

Lawrence Gibson

Lois Gibson

Gregory Gleason

Lynn Gorguze

Jim Grantman

R. Thomas Greene, Jr.

Beverly C. Grossman

Steve Guida

Dan E. Gustafson

Jeanne Gustafson

James Hainlen

J. H. Halldorson

Steven Halverson

Beverly Hammond

Ruth Hanold

Sharon Hawkins

Stephen L. Haynes

Philip G. Heasley

A. A. Heckman

John D. Heefner, MD

E. T. Herbig, Jr.

Gary G. Herzberg

Mary Hevener

Norton Hintz

Emogene Hitchcock†

William A. Hodder

William Hogan, II

Allan B. Holbert

Roger Hollander

Dorothy Horns, MD

Donald M. Houpt

Robert Howard

Sister Alberta Huber

Ann Huey

Thomas Hunt

A. J. Huss, Jr.

Ruth Huss

Heinz Hutter

Jay V. Ihlenfeld

Horace H. Irvine, II

Sandra Irvine

Bernard Jacob

Lila Field Jacob

Thomas L. Jenson†

Frank C. Jesse, Jr.

Anne Johnson

Gerald Johnson

James Wm. Johnson

Paula Johnson

Ray D. Johnson

Reid Johnson

Mrs. Thomas E. Johnson

Mrs. Carl Waring Jones

Lucy Rosenberry Jones

Blaine R. J. Joseph

Donald Judkins

Martha H. Kaemmer

Herbert Kahler

Charlotte Karlen

David P. Keefe†

Steve Keefe

Stephen A. Keller

Thomas Keller, III

Michael F. Kelly, Jr.

Robert W. Kelly

Richard L. Kepp

Edward Kerans

Janice Kimes

Harry L. Kistelman†

Sarah B. Kling

Thomas P. Knudsen

Liz Kochiras

Randoph Koppa

Raymond J. Kosak

Raymond Krause

Irene Kreidberg†

Alice Kubista

Constance Kunin

William Lahr

Dr. John E. Larkin, Jr.

Clayton K. Larson

John Lassila

George Latimer

K. Robert Lea

Donald H. Leavenworth

Randy Lebedo∂

Margaret Leppik

Kenneth Lever

Thomas Levis

Michael Levy

André Lewis

Edith D. Leyasmeyer

Sara Lieberman

James T. Lilly

Patty Lindell

Dorothy Longfellow

Elizabeth Longfellow†

Richard C. Longfellow

Lynne E. Looney

John M. Ludwig

Anthony Luiso

Patricia Lund

Margaret L. Macgowan

Richard H. Magnuson

Daniel Malina

Elizabeth “Becky”

Malkerson

Catherine Manlove

Andrew J. Markopoulos

Thomas R. McBurney

Mrs. Walter R. McCarthy

Samuel McCullough

David F. McElroy

Charles McGill, III

Pierce McNally

W. George Meredith

A. E. Michon

Richard R. Miller

Sam S. Miller

Judge Eugene Minenko

Craig Moen

Shirley Moore

John Morrison

Dr. Donn Mosser

Diana E. Murphy

Joseph E. Murphy, Jr.

John H. Myers

Peter Myers

Alan Naylor

Bruce Nelson

Mrs. Glen D. Nelson

James T. Nichols

Nancy Nicholson

Mrs. D. James Nielsen

Robert A. Nielsen

David Nyhus

Alvina O’Brien

Thomond R. O’Brien

Georgia B. O’Connor

Gayle Ober

Maxwell E. Oie

Warren Oskey

Brian E. Palmer

Aldo Papone

Paul L. Parker†

William Payne, MD

Jevne Pennock

Jose Peris

Dwight Peterson

Gordon D. Peterson†

Hall James Peterson

Jodi Peterson

Ann Pflaum

Stephen R. Pflaum

Michael M. Pharr

James J. Phelps

Felix Phillips

William Phillips

William Podas

John M. Pope

Frank E. Porter

Robert Price

Daniel Prins

Kimberly Puckett

Frederick W. Rahr

Jodell Rahr

Walter C. Rasmussen

Charles E. Rea, M.D.

Connie Remele

James Reuland

Norman F. Rickeman

Stuart W. Rider, Jr.

Sarah Rockler

Michelle Roscitt

Steven M. Rothschild

James Rubenstein

Charles A. Russell

Terry T. Saario

Daniel Saklad

Barbara Flanagan Sanford

Maryan Schall

W. B. Schoenbohm

Lucy T. Searls

Mrs. Martin Segal

Frederick E. Sewell

Thomas W. Sha∂er

Lynda Byrd Sharbrough

Gale Sharpe

Patricia Sheppard

Harvey Sherman

Morris M. Sherman

Thomas Sherman

Peter Sipkins

Ella Slade

G. Richard Slade

Justin V. Smith

Alice Smith

Ross D. Smith†

Frank J. Sorauf

Mrs. Loring Staples

Edwin E. Stein

Julie Jackley Steiner

Andrew Stewart

Donald Stiles

Virginia L. Stringer

Robert Struyk

Vern Sutton

Craig E. Swan

Patricia Swindle

Gregory Swinehart

Elaine Taylor-Gordon

Barbara J. Thell

Charles V. Thomas

Mrs. Milo H. Thompson

Peter Thompson

Barbara Tiede

Thomas H. Tipton

Catie Tobin

Marvin Trammel

Joan Truesdale

Loren Unterseher

Stephen Van Tassel

Mary W. Vaughan

Philip Von Blon

Anne Wakefield-Leck

Walter W. Walker

Fred Weil, Jr.

W. Clarke Wescoe†

Marnie Westerback†

John C. Whaley

Hubert W. White†

G. Marc Whitehead

Cli∂ord Whitehill

L. Jeannette Wiggs

Christine Williams

Bruce D. Willis

John Bell Wilson

Karen Wol∂

Ann Zelle

Richard Zona

The Minnesota Opera Board of Governors, 1964–2004The Minnesota Opera celebrates the leadership of its 40-year history.

† deceased

A Minnesota Opera/Dallas Opera co-production.

Die Zauberflöte by Wolfgang Amadeus Mozart; edited for the New Mozart

Edition (Neue Mozart-Ausgabe) by Gernot Gruber and Alfred Orel;

by arrangement with Bärenreiter Music Corporation.

The appearances of Amanda Pabyan, national finalist; Liora Grodnikaite, Anna

Jablonski, Evelyn Pollock and Alfred Walker, regional finalists; and Carlos

Archuleta, Matt Boehler, Jeremy Cady and Rick Penning, district finalists of

the Metropolitan Opera National Council Auditions, are made possible

through a Minnesota Opera Endowment Fund established for Artist Enhance-

ment by Barbara White Bemis.

Performances of The Magic Flute are being taped for delayed broadcast on

Minnesota Public Radio, ksjn 99.5 in the Twin Cities, on June 27, 2004.

The Magic Flute is sponsored by

Rogers & Hollands Jewelers

The 2003–2004 Season is sponsored by

U.S. Bank, Private Client Group

The appearances of the 2003–2004 season conductors are underwritten by

SpencerStuart.

The 2003–2004 Camerata Circle Dinners are sponsored by Rider Bennett.

Opera Insights is sponsored by

Thrivent Financial for Lutherans.

Music by Wolfgang Amadeus Mozart

Libretto by Emanuel Schikaneder

World premiere at the Theater auf der Wieden, Vienna

September 30, 1791

May 15, 16, 18, 19, 20, 21, 22 and 23, 2004

Ordway Center for the Performing Arts

Sung in German with English captions

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Background Notes by David Sander

Following the opening of Così fan tutte in January 1790,

Mozart entered into a very uncertain period in his life.

The new production had achieved only five performances

before the death of Joseph ii closed all of Vienna’s theaters

for a period of mourning. Although Così was briefly re-

vived during the summer, there was yet no word from the

new emperor, Leopold ii, regarding the composer’s future

at the court. Mozart boldly took matters into his own

hands when, that fall, he followed the Emperor’s retinue to

Frankfurt, where Leopold was to be crowned Holy Roman

Emperor by his peers. Hoping to attract the attention of

the new monarch, Mozart tried to attract notice at the

theater and with a public concert, but it was sparsely

attended. On his way back, the composer managed to get

an audience with Elector Karl Theodor (responsible for the

premiere of Idomeneo in 1781) and the visiting King and

Queen of Naples, whose two daughters had just been mar-

ried to Leopold’s two sons (and, in Hapsburg tradition,

their first cousins). Even though he was a leading com-

poser in Vienna, Mozart had not been invited to partici-

pate at the royal wedding, but through one of the sons, the

Conductor . . . . . . . . . . . .Guido Johannes Rumstadt†

Stage Director . . . . . . . . . . . . . . .Michael CavanaghSet and Costume Designer . . . . . . . . .Susan BensonLighting Designer . . . . . . . . . . . . .Michael MurnaneWigs . . . . . . . . . . . . . . . .Tom Watson & AssociatesMakeup . . . . . . . . . . . . . . . . . . . .Charles LaPointeResident Artist Assistant Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Christopher Zemliauskas‡

Assistant Director . . . . . . . . . . .Doug Scholz-CarlsonChorusmaster . . . . . . . . . . . . . . . . . .Bruce StasynaChildren’s Chorusmaster . . . . . . . . . . .Janice KimesGerman Diction Coach . . . . . . . . . . . .Barbara KierigProduction Stage Manager . . . . . . .Alexander FarinoEnglish Captions . . . . . . . . . . . . . . .Floyd Anderson

TThhee CCaassttTamino, a prince . . . . . . . . . . . . . .Patrick Marques*

. . . . . . . . . . . . . . . . . . . . . . . .Daniel Montenegro**

Pamina, daughter of the Queen . .Pamela Armstrong*

. . . . . . . . . . . . . . . . . . . . . . . . . .Karin Wolverton**

Papageno, a birdcatcher . . . . . . . .Carlos Archuleta*

. . . . . . . . . . . . . . . . . . . . . . . .Andrew Wilkowske**

Sarastro, High Priest of the Sun . . . . .Alfred Walker*

. . . . . . . . . . . . . . . . . . . . . . . . . . . .Matt Boehler**

The Queen of the Night . . . . . . . . . .Amanda PabyanThree Ladies, attendants to the Queen . . .Evelyn Pollock, . . . . . . . . . . . . . .Anna Jablonski, Liora Grodnikaite

Monostatos, overseer at the temple . . . .Jeremy CadyThe Speaker . . . . . . . . . . . . . . . . . . . .Seth KeetonPapagena . . . . . . . . . . . . . . .Genevieve ChristiansonFirst Priest/Man in Armor . . . . . . . . . .Rick PenningSecond Priest/Man in Armor . . . . . . . . .Tor JohnsonThree Spirits . . . . . .Nathaniel Irvin*, Alice McGlave*, . . . . . . .Christopher Penning*, Christine Anderson**,

. . . . . . . . . . . . . .Marie Palmquist**, Katya Rouzina**

Slaves, priests, people of the temple

Setting: a mythical time and place

* performs May 15, 18, 20, 22 ** performs May 16, 19, 21, 23† performs May 15, 16, 18, 20, 22 ‡ performs May 21, 23

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efuture Emperor Francis ii, he tried a backdoor approach.

The enterprising composer put out the suggestion that he

might become the court’s second kapellmeister devoted to

church music since Antonio Salieri, as Mozart was quick to

point out, had limited experience in church music. The

proposal had little impact.

Leopold did belatedly confirm his previous position as

composer of courtly dance, and in January 1791, Mozart

was asked to create a series of German dances for a Vien-

nese ball. Other small commissions included works for

such oddities as the glass harmonica and the mechanical

clock, but little else surfaced. An attractive o∂er came from

London for a year-long contract which included two new

operas, but Mozart delayed the visit due to Constanze’s

pregnancy and delicate health. Franz Joseph Haydn went

instead and enjoyed a legendary visit as the toast of the

town, as his “Lon-

don” symphonies

would soon testify.

It’s no wonder

Mozart jumped at

the chance to com-

po s e a popu l a r

opera for the sub-

urban Theater auf

der Wieden when

director Emanuel

Schikaneder made

the pitch. Though

not well-experi-

enced in the genre

of Zauberoper (ad-

mittedly so), he

could hardly refuse

th e o∂e r . Two

more commissions

came soon after, a

requiem mass and

an unexpe c t ed

commission from

Leopold for an opera seria which would become La clemenzadi Tito. Mozart was definitely back in the game.

Schikaneder was not only helping the financially

strapped composer, he was also serving his own needs. Also

somewhat precarious in money matters, thanks to

grandiose theater programming, he needed a hit and

counted on Mozart’s celebrity to ensure a critical success

and financial windfall. Schikaneder was a consummate im-

presario – at once actor, author and composer – who also

required a substantial, yet simple role for himself. He

would become the first Papageno as well as the produc-

tion’s director and librettist.

The sources for the libretto are numerous and varied,

providing virtually unsurpassed analyses by stymied musi-

cologists. No written documentation survives, since Mozart

and Schikaneder were in close daily contact as the work

evolved and didn’t need to write letters. Nor are we certain

when the collaboration first began – a letter sent during

Mozart’s Frankfurt visit makes reference to one of the

show’s numbers, but no formal contract or urtext of the li-

bretto survives. The formula for public opera was much less

strict than for those written for the court, leaving the two

artists to draw from a wealth of ideas. The magical ele-

ments appear to be borrowed from one of a set of fairy tales

collected by Christoph Martin Wieland, titled Dschin-nistan, which included Lulu, oder Die Zauberflöte (Lulu, orThe Magic Flute) by Jakob August Liebeskind. Parallels can

also be drawn to Crétien de Troyes’s 12th-century ballad,

Yvain, with regard to the opening scene and the inclusion

of a hybrid creature of man and beast. There are similarities

to William Shakespeare’s The Tempest (Schikaneder was a

seasoned Shakespearian actor) in the characters of Prospero

(Sarastro), Miranda (Pamina), Ferdinand (Tamino) and Cal-

iban (Papageno), not to mention the spirit of the Queen of

the Night in Shakespeare’s vanquished witch Sycorax and

of the Three Spir-

its in Prospero’s

fairy-servant Ariel.

Further elements

appe a r t o b e

drawn from pan-

tomime, moraliz-

ing puppet plays

and Italian comme-dia dell’arte, not to

mention several

borrowings from

Moza r t and

Schikaneder’s ear-

lier works, such as

the former’s popu-

lar German opera,

The Abduction fromthe Seraglio, the in-

complete Zaïdeand i n c id en ta l

music to Tobias

Ph i l i pp von

Geb l e r ’ s p l ay

Thamos, König in Ägypten and the latter’s Zauberoper DerStein der Weisen, also drawn from Wieland’s Dschinnistan.

Yet the bulk of The Magic Flute appears to be inspired

by Abbé Jean Terrasson’s Egyptian tale Séthos, which de-

scribes the progress and religious transformation of its

princely title character, son of Ramses i of Egypt. This

novel, which Terrasson tried to pass o∂ as a genuine Greek

relic and thus actual history, also served as a “bible” to

Freemasons, a quasi-religious society founded in early 18th-

century England, and widely practiced all over Europe dur-

ing the Age of Enlightenment. It was quite in vogue as

nearly everyone seems to have been a Freemason at some

point: Schikaneder, Mozart, his father, Haydn, Leopold ii(as a member of the Scottish Rite), his father Francis of

Lorraine (to the disdain of wife Empress Maria Theresa)

and Goethe, among others. Fearing the eclipse of Chris-

tianity, the Vatican issued a Papal Bull denouncing Freema-

sonry, but due to Emperor’s participation, it was largely

ignored in Austria. When Francis i died in 1765, however,

Continues on page 12

Helen Todd as the Queen of the Night in The Minnesota Opera’s 1997 The Magic Flute

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Maria Theresa clamped

down on the Freemasons,

her severity only to be re-

pudiated after her death

in 1780 by the more permis-

sive Joseph ii. An essay, On theMysteries of the Egyptians, by a

leading Mason (and former

metallurgist to the Empress)

Ignaz von Born also served as inspira-

tion, and The Magic Flute soon be-

came thought of as an allegory for the

plight of Freemasonry, with Born as

S a r a s t r o , Ma r i a

Theresa as the Queen

of the Night, Joseph

as Tamino and the Vi-

ennese people as Pam-

ina . The ope r a

continues to be heav-

ily deconstructed with

both Jungian inter-

pretat ions and the

work’s intricate Ma-

sonic symbolism.

Moza r t and

Schikaneder ’s first

order of business was

to delight and enter-

tain their audience,

but it is clear that the

two were trying to

send a deeper mes-

sage, by bringing the

subject of Freemasonry to the fore – why else would they

betray so many of the Order’s secret practices? It is also

di∑cult to explain the sudden shift from what begins as a

standard “rescue opera” to one of deeper and more solemn

meaning. One theory (now

largely discredited) is that

Mozart and Schikaneder

feared their new creation

too closely resembled a

new work at the r iva l

Leopoldstadt theater, Kas-par der Fagottist, oder DieZauberzither (Kaspar theBassoonist, or The Magic

Zither), due to open June

11 – it, too, was pur-

ported to be drawn from

the same Dschinnistan fairy tale.

But in a letter to Constanze, Mozart

dismissed it as “simple trash” not

worthy of any concern. It is more likely

that the opera served as Masonic propa-

ganda – the future of the Order was in

limbo in the new regime. The previously

tolerant Joseph had already reduced the num-

ber of lodges in Vienna to three … who knew what

Leopold would do? (As it happened, his successor,

the reactionary and

f e a r fu l F r anc i s i i ,wou ld e r ad i c a t e

Freemasonry com-

pletely from Austria

just a few years later.)

What ev e r t h e

higher purpose may

have been, The MagicFlute was a hit from

the s ta r t w i th the

common people and

played almost every

night well into No-

vember. Mozart at-

tended the opera as

often as he could (and

repeated it in his head

eve ry n ight wh i l e

bedridden during his

fina l i l l n e s s ) , a nd

Salieri, also out of the new Emperor’s favor, gave it gen-

uine praise. Stylistically, the opera has something for

everyone – coloratura opera seria arias (the Queen), simple

folk song (Papageno), religious hymn (the Priests’ march),

a gripping suicide aria

(Pamina), contrapuntal vi-

vacity (the overture) – as

well as dazzling visual

spectacle to boot (a spe-

cialty of Schikaneder’s).

Never having fallen out of

fashion, The Magic Flutecontinues to engage audi-

ences of all ages.

Continued from page 11

Costume design by Susan Benson

act i

Pur sued by a d r agon, P r inc e

Tamino falls faint from exhaus-

tion. Three Ladies in the service of the

Queen of the Night slay the monster,

then admire Tamino’s beauty. They

fight over who will remain with him

while the others fetch the Queen. Not

coming to any resolution, all three de-

part.

Tamino revives and observes the ap-

proach of Papageno, who catches birds

for the Queen. In the course of becom-

ing acquainted, Papageno claims he

killed the dragon. The Three Ladies

return and seal his mouth for telling

the lie. They show Tamino a portrait

of the Queen’s daughter, Pamina, and

Tamino immediately falls in love with

her visage. The Queen of the Night

appears and asks him to rescue Pamina

from the temple of the tyrant Sarastro,

where she is being held captive. As a

reward, the young couple will be wed.

Tamino agrees enthusiastically, and

the Three Ladies give him a magic

flute for protection. Restoring Pa-

pageno’s power of speech, they order

him to accompany Tamino. He re-

ceives a set of magic bells. Three Spir-

its will guide their journey.

At Sarastro’s temple, Monostatos is

charged with guarding Pamina, whom

he treats harshly. Papageno enters, and

both men startle one another with

their unusual appearance and momen-

tarily flee. Papageno is the first to re-

turn, r ecognizes Pamina a s the

Queen’s daughter and tells her of the

ardent young prince who has been

sent to her rescue. She takes pleasure

in the prospect of love, and Papageno

too pines for his perfect mate.

Elsewhere in the temple, Tamino

comes upon the inner sanctuary, but is

barred entrance. A priest tells him he

has been deceived by a mother’s tears

– Sarastro is not the evil person she

described. Feeling lost, Tamino plays

his magic flute and hears Papageno’s

pipe in response; he then follows its

sound. Back in Monostatos’s lair, Pam-

ina and Papageno face recapture, but

Papageno plays his magic bells ,

charming Monostatos and his slaves

and allowing their escape.

Sarastro enters magnificently, and

Pamina admits her attempt to flee, but

only to escape Monostatos’s amorous

advance. Still, she misses her mother,

but Sarastro proclaims there is still

much for her to learn under his tute-

lage. Tamino is brought in and em-

braces Pamina, while Monostatos is

punished for his dereliction.

— intermission —

act iiSarastro announces before the Speaker

and the priests Tamino’s wish to enter

the sanctuary of wisdom and his will-

ingness to undergo the trials of initia-

tion. Papageno is more reluctant, but is

promised a pretty wife, Papagena, as his

reward. The first test is one of silence, a

task Papageno has some di∑culty

achieving, especially when tempted by

the Three Ladies.

Elsewhere, Monostatos continues his

lusty pursuit of Pamina, but is deterred

by the arrival of the Queen of the

Night. The Queen pleads with her

daughter – the seat of power rests with

the all powerful Circle of the Sun,

which was wrongly taken from her.

Pamina must kill Sarastro and take the

Circle back – if she doesn’t, her mother

will disown her. After the Queen’s

angry departure, Monostatos o∂ers to

help in exchange for Pamina’s love.

When she refuses, Monostatos again

threatens her but is interrupted by

Sarastro, who knows of the Queen’s

plot. He forgives Pamina’s part in it,

and Monostatos is banished from the

Order.

Tamino and Papageno continue to

wait out their oath of silence, aug-

mented by thirst and fasting. An old

woman o∂ers Papageno water and soon

admits that her boyfriend’s name is

“Papageno.” Before her identity is re-

vealed, she is sent away with a clap of

thunder. The Three Spirits then pay a

visit and o∂er refreshments. Papageno

eats heartily while Tamino plays his

flute. The music brings forth Pamina,

who is distressed when Tamino does

not respond to her inquiries. She fears

his love has vanished and considers tak-

ing her own life.

Papageno tries to catch up to Tamino

but is denied entry to the inner temple.

The Speaker denounces him, stating that

he will never know true enlightenment,

yet Papageno is hardly bothered, for all he

wants is a wife. He plays his bells, and the

old woman reappears. Under threat of

imprisonment, he begrudgingly agrees to

be her husband. She is immediately trans-

formed into a beautiful young woman,

Papagena, but is whisked away by the

Speaker – Papageno is not yet worthy.

Demented by Tamino’s seemingly

broken vow, Pamina wanders aim-

lessly, dangerously clutching a dagger.

The Three Spirits take her to Tamino,

who is about to undergo the trials of

water and fire. Pamina and Tamino

rea∑rm their love, and she resolves to

go through the ordeals at his side.

Missing Papagena terribly, Pa-

pageno is about to hang himself, but is

saved by the Three Spirits. He is told

to play the magic bells, and to his

great joy, Papagena is soon restored to

him. They rejoice in a future together.

Now in league with the dark side,

Monostatos leads the Queen and her

ladies in one last attempt against

Sarastro, but all are vanquished.

Dressed in priestly robes, Tamino and

Pamina usher in a new era of truth,

beauty and wisdom.

Synopsis13

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Bojan Knezevic as Papageno and MarkThomsen as Tamino in The MinnesotaOpera’s 1997 The Magic Flute.

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Wolfgang Amadeus Mozartb Salzburg, January 27, 1756; d Vienna, December 5, 1791

Child wonder, virtuoso performer and prolific creative

artist, Mozart is the first composer whose operas have

never been out of repertory. His prodigious talents were ap-

parent very early in his life; by the age of four he could re-

produce on the keyboard a melody played to him, at five he

could play the violin with perfect intonation and at six he

composed his first minuet.

A musician himself, Wolfgang’s father, Leopold,

immediately saw the potential of his son’s tal-

ents. With the mixed motives of religious

piety and making a tidy profit, Leopold

embarked on a series of concert tours

showing o∂ the child’s extraordinary

talents. Often playing with his sister

Maria Anna (“Nannerl”), herself an

accomplished musician, young

Wolfgang charmed the royal

courts of Europe, from those of

Austrian Empress Maria Theresa,

French King Louis xv and Eng-

lish King George iii, to the of

lesser principalities of Germany

and Italy.

As Mozart grew older, his con-

cert tours turned into a search for

permanent employment, but this

proved exceedingly di∑cult for a

German musician in a market domi-

nated by Italian composers. Although

many of his early operas were commis-

sioned by Milanese and Munich nobles

(Mitridate, Ascanio in Alba, Lucio Silla, La fintagiardiniera), he could not rise beyond Konzert-meister of the Salzburg archbishopric. When

the new prince archbishop, Count Hierony-

mus Colloredo, was appointed in 1771, Mozart also found

he was released for guest engagements with less frequency.

Though his position improved and a generous salary was

o∂ered, the composer felt the Salzburg musical scene was

stifling for a man of his enormous talent and creativity.

Things came to a head in 1781 immediately after the

successful premiere of Mozart’s first mature work, Idomeneo,in Munich. The archbishop, then visiting Vienna, insisted

the composer join him there. Never did Mozart better un-

derstand his position in the household than during that so-

journ, when he was seated at the dinner table below the

prince’s personal valets and just above the cooks. He re-

quested to be permanently discharged from his duties, and

after several heated discussions his petition was granted,

punctuated by a parting kick in the pants.

Now completely on his own for the first time, Mozart

embarked on several happy years. He married Constanze

Weber, sister to his childhood sweetheart Aloysia, and pre-

miered a new work, Die Entführung aus dem Serail (The Ab-

duction from the Seraglio), at the Burgtheater. Mozart also

gave concerts around Vienna, presenting a number of new

piano concertos and symphonies. His chief concern was to

procure a position at the imperial court. A small commis-

sion came his way from the emperor for a one-act comedy,

Der Schauspieldirektor (The Impresario), given in the same

evening as Antonio Salieri’s Prima la musica e poi le parole(First the music, then the words), to celebrate the visit

of the emperor’s sister, Marie Christine, and

her husband, joint rulers of the Austrian

Netherlands.

The Marriage of Figaro, Mozart’s

first true masterpiece for the imperial

court, premiered at the Burgtheater

in 1786 and went on to Prague the

following year where it was a huge

success. Don Giovanni premiered

in Prague in 1787 to great ac-

claim, but its Vienna premiere in

1788 was coolly received. By this

time, Mozart had received a

minor imperial posting, Kammer-musicus, which required him to

write dances for state functions.

The position was hardly worthy of

his skills and generated only a

modest income, a weighty concern

now that debts had begun to mount.

Joseph ii commissioned another opera

from Mozart, Così fan tutte, which pre-

miered January 26, 1790. The emperor was

too ill to attend the opening and died the fol-

lowing month. His brother, Leopold ii, as-

sumed leadership, and Mozart hoped to be

appointed Kapellmeister – instead he merely re-

ceived a continuance of his previous position.

Crisis hit in 1791. Constanze’s medical treatments at

Baden and the birth of a second child pushed their finances

to a critical point. Mozart’s friend and fellow Freemason,

the impresario Emanuel Schikaneder, suggested he try his

luck with the suburban audiences at his Theater auf der

Wieden. Composition of The Magic Flute began early that

summer but had to be halted when two generous commis-

sions came his way: a requiem for an anonymous patron

(who hoped to pass it o∂ as his own composition), and an

opera seria to celebrate the new emperor’s coronation as

King of Bohemia. La clemenza di Tito premiered September

6, and The Magic Flute was completed in time to open Sep-

tember 30. The Requiem, however, remained incomplete,

and as Mozart’s health began to fail, the composer feared he

was writing his own death mass. In December Mozart died

at the age of 35 and was given a simple funeral by his im-

poverished widow, then buried in an unmarked grave on

the outskirts of Vienna.

Wolfgang Amadeus Mozart

Erich

Less ing/Ar t

Resou rce ,NY

15•

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Emanuel Schikaneder’s position in

music history is often no more than

passing mention as the librettist of

Mozart’s final staged drama. But his

unique and diverse talents had a pro-

found e∂ect on the course of German

opera toward the end of the 18th cen-

tury. Born to a very modest household

(both parents were servants) and or-

phaned as a child,

Schikaneder learned

to make his way as a

itinerant entertainer,

first as a street-per-

forming minstrel,

then as an actor in

F r anz Jo s eph

Moser’s troupe of

traveling players,

over which he even-

tually assumed di-

rectorship in 1778.

He was ambitious

with his program-

ming, o∂ering plays

by Shakespeare (rel-

atively unknown in

Ge rmany a t t h e

time) as staples of

his repertory – his

interpretat ion of

Hamlet was encored

at the Munich court

theater, albeit in a version refitted with

a happy end. He also o∂ered original

works, including plays and singspiels

(German opera with spoken dialogue)

of his own design.

Schikaneder first made Mozart’s ac-

quaintance when his company traveled

to Salzburg in 1780, as the Mozarts

were avid theater-goers. They likely re-

n ewed th e i r f r i end sh ip when

Schikaneder was invited to Vienna in

1784 at the emperor’s request. Joseph

ii had been impressed by a perfor-

mance he attended while traveling

through Pressburg and hoped the im-

presario could revive theater performed

in the German vernacular. The em-

peror’s earlier attempt to establish a

national theater (1776–1783) had

failed miserably, though it yielded one

jewel of lasting significance, Mozart’s

The Abduction from the Seraglio (1782).

Schikaneder o∂ered a short season at

the Kärntnertortheater (including a

proposed viewing of Beaumarchais’s

politically volatile play Le mariage deFigaro) and managed to obtain a license

from the emperor to open his own the-

ater, but he eventually left for a more

stable position in Regensburg.

The impresario was lured back to

Vienna at his wife’s urging. Eleanore

had also been a member of Moser’s

troupe and the couple had married in

1777, but quickly became estranged as

a result o f Emanuel’ s numerous

infidelities. By 1785 Eleanore herself

was involved in an extramarital a∂air

with another company member, Jo-

hann Friedel. They had found a perma-

nent home for their players at the

Freihaus Theater auf der Wieden, lo-

cated just south of Vienna. The Frei-

haus was a small island upon itself,

providing apartment homes and conve-

niences for more than a thousand resi-

dents and practically guaranteeing a

captive audience for its 1,000 seat the-

ater. When Friedel died in 1789,

Eleanore was overwhelmed by the

prospect of running the theater alone

and called for her husband’s assistance.

Unlike the court theaters, which were

underwritten by royal support, the

Freihaus Theater depended solely on

box o∑ce receipts, making it a rather

risky venture. Yet Schikaneder entered

his most profitable years as a theater

producer, providing a wide assortment

of entertainments for his petty bour-

g eo i s aud i en c e .

There was s t i l l a

smattering of high

drama, most notably

Schiller’s Kabale undLiebe and Don Carlos,a s we l l a s mo r e

Shakespeare, Goethe

and Lessing, o∂ set

by “magic” sing-

spiels of his own de-

sign, such as DerStein der Weisen oderDie Zauberinsel (TheWise Men’s Stone, orThe Magic Isle), a

forerunner to TheMag i c F l u t e , D i eEisen-Königin (TheIron Queen) and DerWohltätige Derwisch,oder Die Zaubertrom-mel und Schellenkappe(Th e Cha r i t a b l e

Dervish, or The Magic Drum and Fool’sCap). In 1798 he even tried to repeat

the success of The Magic Flute with a

sequel, Das Labyrinth, oder Der Kampfmit den Elementen (The Labyrinth, or TheStruggle with the Elements, to music by

Peter von Winter), but it fell flat by

comparison.

Still, the original Magic Flute proved

to be a bountiful cash cow, and though

rival theaters in the Leopoldstadt and

Josefstadt districts provided sti∂ com-

petition, Schikaneder was able to se-

cure enough money to finally build his

own house, the Theater an der Wien,

just down the river. Still with Joseph’s

license in his possession, he opened the

opulent new theater in 1801 and relo-

cated his forces there. By this time he

had made an important new contact,

t h e 31 -y e a r- o ld Ludwig van

Emanuel Schikaneder, Mozart and the Masonsb Straubing, September 1, 1751; d Vienna, September 21, 1812

Continues on page 32

Tamino, Papageno, and the Three Ladies; Act I, scene iii of Mozart’s The Magic Flute.Color etching c. 1793 by Joseph and Peter Schaffer

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

Matt BoehlerSarastro

Minnesota Opera Resident ArtistRecently

Passion; Lucrezia Borgia; Rigoletto; La traviata; The Merry Widow, The Minnesota Opera

The Barber of Seville; La clemenza di Tito; Dardanus,Wolf Trap Opera Company

Amahl and the Night Visitors, Minnesota OrchestraA Midsummer Night’s Dream, Central City Opera

La bohème, Fargo-Moorhead Opera

UpcomingThe Barber of Seville, Ash-Lawn Opera Festival

Genevieve ChristiansonPapagena

Minnesota Opera Resident ArtistRecently

Passion; Rigoletto; The Handmaid’s Tale; La traviata; The Merry Widow; Little Women; others, Minn. OperaCandide (ensemble; Cunegonde cover), Minnesota OrchestraShe Loves Me; Wonderful Town; others, North Star Opera

UpcomingThe Impresario, The Saint Paul Chamber Orchestra

Rigoletto, Opera Costa RicaAcis and Galatea, New Breath Productions

Carmen, The Minnesota Opera

Liora GrodnikaiteThird Lady

Minnesota Opera Resident ArtistRecentlyThe Rape of Lucretia; Passion; Rigoletto, Minnesota OperaThaïs, Opera Theatre of St. LouisAlcina; The Rape of Lucretia; The Rake’s Progress;

Der Kaiser von Atlantis; The Bartered Bride, La Cenerentola; others, Oberlin Opera Theater

La liberazione di Ruggiero dall’isola d’Alcina, (Vilnius)

UpcomingAcadémie Europenne de Musique (Aix-en-Provence)Vilar Young Artists Programme – Royal Opera (London)

Jeremy CadyMonostatos

Minnesota Opera Resident ArtistRecentlyPassion; Lucrezia Borgia; Rigoletto; Macbeth;

Der Rosenkavalier, The Minnesota OperaMessiah, Lexington PhilharmonicGabriel’s Daughter, Central City OperaThe Tender Land; The Magic Flute; Ariadne auf Naxos,

The Minnesota OrchestraA Streetcar Named Desire; Amahl, Univ. of Kentucky

UpcomingThe Chocolate Soldier, North Star Opera

Carlos ArchuletaPapageno

Minnesota Opera DebutLucia di Lammermoor, 2001

RecentlyLa vida breve, The Dallas Opera

Pagliacci/Carmina burana, Orlando OperaMadame Mao, Santa Fe Opera

The Barber of Seville, Opera Roanoke; Opera ApertaLa fanciulla del West, Utah Symphony & Opera

La traviata; Don Carlos; Little Women; others, Minn. Opera

UpcomingNixon in China, The Minnesota Opera

Pamela ArmstrongPamina

Minnesota Opera DebutRecentlyLe nozze di Figaro, New York City OperaCosì fan tutte, Opera PacificLa traviata, Tulsa Opera; Palm Beach Opera

UpcomingLa rondine, New York City OperaDon Giovanni, Opéra Municipal de MarseilleEugene Onegin, Tulsa OperaDer Rosenkavalier, Metropolitan OperaFaust, Michigan Opera Theatre

Interior Design

612.333.0526gunkelmans.com

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17•

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visit our website at www.mnopera.org

Anna JablonskiSecond Lady

Minnesota Opera Resident ArtistRecently

Le nozze di Figaro, The Astoria Music FestivalIl barbiere di Siviglia, Portland SummerFest

Passion; Rigoletto; The Handmaid’s Tale; La traviata; The FlyingDutchman; The Merry Widow, The Minnesota Opera

La Cenerentola, Portland State UniversityAlbert Herring; others, Bel Canto nw

UpcomingChautauqua Opera Young Artist Program

Madame Butterfly; Maria Padilla, The Minnesota Opera

Daniel MontenegroTamino

Minnesota Opera Resident ArtistRecentlyThe American Tenors, pbs TelevisionPassion; Lucrezia Borgia; The Handmaid’s Tale;

The Flying Dutchman; Norma; The Merry Widow, The Minnesota Opera

Madame Butterfly, San Francisco Lyric OperaLa rondine, Pocket OperaGiulio Cesare; The Magic Flute; Falsta∂, Opera Festival di RomaThe Tales of Ho∂mann; The Crucible,

San Francisco Conservatory of Music Opera Theater

Patrick MarquesTamino

Minnesota Opera DebutRecently

Tannhäuser, Houston Grand OperaStreet Scene, Wolf Trap Opera CompanyDon Giovanni; Tannhäuser, Tulsa Opera

La damnation de Faust, New Mexico, Grand Rapids SymphoniesDie Fledermaus, Annapolis Opera

Salome, Opera Pacific; Milwaukee SymphonyWerther; Der Rosenkavalier; Falsta∂, Michigan Opera

Carmina burana, Santa Fe SymphonyIdomeneo, Santa Fe Opera

Evelyn PollockFirst Lady

Minnesota Opera Resident ArtistRecentlyPassion; Lucrezia Borgia; Rigoletto, The Minnesota OperaMadame Mao, Santa Fe OperaLa bohème, Western Opera TheaterThe Merry Wives of Windsor, Merola Opera ProgramLa traviata; Lucia di Lammermoor, Indiana Univ. Opera The Pirates of Penzance, Colorado SymphonyCandide; The Face on the Barroom Floor, Central City Opera

UpcomingLa sonnambula, Santa Fe Opera

Seth KeetonThe Speaker

Minnesota Opera Resident ArtistRecentlyPassion; Lucrezia Borgia; Rigoletto, The Minnesota OperaLa 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 OperaThe Bartered Bride; Le nozze di Figaro; Orfeo; Così fan tutte;

The Rake’s Progress; others, Indiana University

UpcomingAcis and Galatea, New Breath ProductionsMadame Butterfly; Maria Padilla; Carmen, Minn. Opera

Amanda PabyanQueen of the Night

Minnesota Opera DebutRecently

The Magic Flute, New York City Op.; Op. Theater of PittsburghLakmé, Canterbury Opera (New Zealand)

L’occasione fa il ladro; others, Kommische Kammer Op. (Munich)Handel and Vivaldi Cantatas, Calisto Records

Young Artist – Santa Fe, Washington, Glimmerglass Operas

UpcomingImeneo, Glimmerglass Opera

The Magic Flute, Washington Nat’l Op.; Florida Grand Op.Die Entführung aus dem Serail, Portland Op.; Op. Colorado

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

Karin WolvertonPamina

Minnesota Opera Resident ArtistRecently

Passion; Rigoletto; The Handmaid’s Tale; Norma; The MerryWidow; Don Carlos; others, The Minnesota Opera

Salome, Des Moines Metro OperaDvorak Te Deum, Minnesota Orchestra

Dialogues of the Carmelites; Le nozze di Figaro; L’incoronazione di Poppea, U of M Opera Theatre

UpcomingResident Artist – Central City Opera

Carmen, The Minnesota Opera

Andrew WilkowskePapageno

Minnesota Opera Resident ArtistRecentlyPassion; Lucrezia Borgia; La traviata; others, Minn. OperaThe Mozart Experience, Minnesota OrchestraThe Magic Flute, Virginia OperaLa bohème; The Barber of Seville, Lyric Opera of San AntonioRoméo et Juliette; Le nozze di Figaro; Dead Man Walking;

Elektra; The Magic Flute, Cincinnati Opera

UpcomingDon Pasquale, San Francisco Opera Merola ProgramNixon in China, The Minnesota Opera

Alfred WalkerSarastro

Minnesota Opera DebutLa clemenza di Tito, 2002

RecentlyLes contes d’Ho∂mann, Tulsa Opera

Das Rheingold, New Orleans OperaFaust; Les Troyens; Turandot; others, Metropolitan Opera

UpcomingElektra, Teatro alla Scala; San Sebastian Festival

La bohème, Atlanta OperaMadame Butterfly, Metropolitan OperaLe nozze di Figaro, New Orleans Opera

Michael MurnaneLighting Designer

Minnesota Opera DebutAriadne auf Naxos, 1987

RecentlyElijah’s Wake; The Holiday Pageant, Open Eye Figure TheaterThe Symphony Ball, Minnesota OrchestraNutcracker 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; Minnesota Orchestra; Ballet of the Dolls

Janice KimesChildren’s Chorusmaster

Minnesota Opera DebutHansel and Gretel, 1981

RecentlyLa bohème; Pagliacci/Carmina burana; Street Scene;

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

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

UpcomingCarmen, The Minnesota Opera

Michael CavanaghStage Director

Minnesota Opera DebutRecentlyCavalleria rusticana; Così fan tutte, Manitoba OperaLa bohème; La traviata; Rigoletto, Arizona OperaLa traviata, Calgary OperaUn ballo in maschera, Opera Lyra OttawaLa fille du régiment, Vancouver OperaMadame Butterfly, L’Opéra de MontréalOf Mice and Men, Edmonton Opera

UpcomingDon Giovanni, Vancouver Opera

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

Guido Johannes RumstadtConductor

Minnesota Opera DebutThe Flying Dutchman, 2003

RecentlyLe coq d’or; La petite Renarde rusée; Die Zauberflöte;

La finta semplice; others, Opéra de NantesOrlando paladino, Glimmerglass Opera

Rigoletto; Madama Butterfly, New York City OperaDie Vögel, Wiener Volksoper

Joseph Süss (Flanert); Der Traum ein Leben (Braunfels);Oberon; Werther; Ariadne auf Naxos; La traviata; Salome;

others, Opera Regensburg (Music Director)

Doug Scholz-CarlsonAssistant Director

Minnesota Opera DebutDer Rosenkavalier, 2000

RecentlyHamlet; Romeo and Juliette, Theater 3 (New York)The Rape of Lucretia (RAP workshop); The Handmaid’s Tale;

Passion; Don Carlos; others, The Minnesota OperaLucia di Lammermoor, Pittsburgh OperaI Capuleti e i Montecchi, New York City OperaA Christmas Carol; Gross Indecency; Sweeney Todd,

Guthrie TheaterHamlet; The Tempest; others, Utah Shakespeare Festival

Christopher ZemliauskasAssistant Conductor

Minnesota Opera Resident ArtistRecentlyThe Rape of Lucretia; Passion; others, The Minnesota OperaCoach/Accompanist – Dialogues des Carmélites; Die Fledermaus;

Eric Hermanson’s Soul (Univ. of Minnesota); Eugene Onegin; Don Pasquale; Samson et Dalila (Indianapolis Opera); Don Pasquale; Albert Herring; L’enfant et les sortilèges (Music Acad. of the West);The Medium, Angelique; The Barber of Seville (San Fran. Merola)

UpcomingTales of Ho∂mann; Le jongleur de Notre Dame, Central City Op.Madame Butterfly, The Minnesota Opera

Bruce StasynaChorusmaster

Minnesota Opera DebutDer Rosenkavalier, 2000

RecentlyRigoletto; Lucrezia Borgia; others, The Minnesota Opera

The Barber of Seville, Opera Roanoke (conductor)Die ägyptische Helena, American Symphony Orchestra

The Barber of Seville; Tito; Don Pasquale, Wolf Trap OperaAriadne auf Naxos; Il re pastore; Il matrimonio segreto;

others, Lake George Opera Festival

UpcomingMadame Butterfly; La Cenerentola, Des Moines Metro Opera

Now in its seventh season, The Minnesota Opera ResidentArtist Program is devoted to discovering and training thenext generation of opera talent. This program has been in-credibly successful with graduates going on to engagementswith such international opera companies and orchestras as

the Metropolitan Opera, San Francisco Opera, New YorkPhilharmonic Orchestra, Rome, Tokyo as well as the Min-nesota Orchestra and The Saint Paul Chamber Orchestra.For several of our RAPs, these Magic Flute performances arethe culmination their entire Minnesota experience.

The Minnesota Opera Resident Artist Program

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Renée Fleming

Alfred Brendel

2004–2005

Lang Lang, piano • Thursday, October 28, 2004

A Chamber Music Evening (from Lincoln Center)Phyllis Pancella, mezzo soprano,

Paul Neubauer, viola, Anne-Marie McDermott, pianoFriday, November 26, 2004

Miriam Fried & Jonathan Biss mother & son violin and piano duo

Wednesday, January 12, 2005

Renée Fleming, soprano • Wednesday, February 23, 2005

Alfred Brendel, piano • Tuesday, March 29, 2005

ORDWAY CENTER FOR THE PERFORMING ARTS • SAINT PAUL, MINNESOTA • TICKETS: 651-292-3267

The Schubert Club • www.schubert.org

Cedar Street, Saint Paul

Susanne Mentzer Sharon Isbin

Håkan Hagegård

June 21 – 27, 2004

— Art Song Recitals —

Susanne Mentzer, mezzo-soprano and Sharon Isbin, guitar • June 21Maria Jette, soprano and David Schrader, fortepiano, Larry Combs, clarinet • June 22

Håkan Hagegård, baritone, Warren Jones, piano • June 24New York Festival of Song • June 25

Nathan Gunn, baritone & Julie Gunn, piano & Saint Paul Chamber Orchestra Players • June 26

— Public Master Classes —

Susanne Mentzer • June 22 • Håkan Hagegård • June 23

— Grand Historic Song Concert —

Stephen Foster and Friends • Philip Brunelle, Artistic DirectorMaria Jette, soprano • Nathan Gunn, baritone • VocalEssence Ensemble Singers

June 27

FOR DETAILED INFORMATION AND TICKET PRICES PLEASE CALL: 651-292-3267

The Schubert ClubEstablished 1882 • One of America’s oldest and most distinguished concert organizations

International Artist Series

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The Minnesota Opera OrchestraViolin IKristen Christensen

concertmasterJulia Persitz

David Mickens

Sheila Hanford

Judy Thon-Jones

Andrea Een

Violin IILaurie Petruconis

Elizabeth Decker

Stephan R. Orsak

Melinda Marshall

Carolin Kiesel Johnson

ViolaAnnette Caruthers

Vivi Erickson

Laurel Browne

Jenny Lind Nilsson

Cello Jim Jacobson

Adriana LaRosa Ransom

Rebecca Arons Goetz

Tom Austin

BassJohn Michael Smith

Constance Brown

FluteMichele Antonello Frisch

Amy Morris

OboeMarilyn Ford

Tina James

ClarinetSandra Powers

Nina Olsen

BassoonCoreen Nordling

Laurie Hatcher Merz

Horn Charles Kavalovski

Charles Hodgson

Trumpet John G. Koopmann

Christopher Volpe

TromboneSue Roberts

Steven Lund

David Stevens

TimpaniKory Andry

The Minnesota Opera ChorusSopranoMichelle Carlson

Alison Feldt

Michelle Hayes

Sandra Henderson

Patricia Kent

Paula Lammers

Shirley Liephon

Mezzo-sopranoMary Monson

Joy Schieb

Cathryn Schmidt

Sandy Schoenecker

Catherine Sturm

Karen Weaver

Corissa White

TenorJeremiah Alto*

Robb Asklof

Andy Elfenbein

Je∂rey Hess

Brian Kuhl

Oliver Mercer

James Plante

Steve Sandberg

Martin Swaden

Bass/BaritoneMichael Cain

Steve Dahlberg

Mario Diaz-Moresco*

Brian Jorgensen

Don Moyer

Bill Murray

Nathan Petersen-Kindem

Rob Woodin

SupernumerariesAndrew Penning

Avital Rabinowitz

Anna Resele

Christian Skelley

* denotes KIDS partici-pant

(Kids Internship for theDevelopment of Singing)

The Minnesota Opera will hold general auditions June 3, 4, and 5, 2004. Principal

roles are usually cast at least a year in advance and supporting roles and choruses are

generally cast locally or from our Resident Artists Program.

Auditions are by appointment only and on a first-come, first-served basis. Please

call 612-333-2700 weekdays between 10 a.m. and 4 p.m.

Audition Requirements:Prepare one operatic aria of choice in the original language. Bring current re-

sume and photo. Singer should provide own accompanist. A list of accompanists

is available upon request.

The Minnesota Opera AuditionsCall today for tickets!612.624.2345

or order online at www.tcgmc.org

Pride Weekend Concert!Friday & Saturday,

June 25 & 26, 2004 – 8 p.m.(June 26th ASL Interpreted)

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Giacomo Puccini, Nov. 6—13, 2004

MARIA PADILLA

Gaetano Donizetti, March 5—13, 2005

CARMEN

Georges Bizet, April 16—23, 2005

NIXON IN CHINA

John Adams, May 14—22, 2005

At the Ordway Center for the Performing Arts

TO THE 2004-05 SEASON

Call 612-333-6669

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photo by Barbara Willis

The Minnesota Opera’s Young Professionals Group issponsored by Rogers & Hollands Jewelers.

Fhima’s is the official venue for Opera Nights Out.

Opera Night Out: The Magic Flute

Friday, May 21, 200410:30–midnight

post-opera cocktail party at Fhima’s

Upcoming Events

Operastraight up, with a twist…

The Minnesota Opera’s Young Professionals Group

Are you a 20- or 30-something who’scurious about opera? Join other youngprofessionals for the hottest ticket intown — The Minnesota Opera’s YoungProfessionals Group! Members are enti-tled to great seats at the Opera forrock-bottom prices, as well as pre-operacocktail parties and special eventsthroughout the season.

The low-cost membership (only $30 perseason) entitles YPG members to prior-ity event access and steep discounts onopera tickets.

Join before May 21 and receive YPGbenefits for The Magic Flute AND the2004 – 2005 Season.

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

To learn more about the YoungProfessionals Group, visit

www.mnopera.org, or email us at ypg@mnopera.org.

Operastraight up, with a twist…

C O N N E C T O N

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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-$9,999AnonymousRebecca Rand and E. Thomas BingerMr. James BingerDr. Susan and Richard CrockettTheresa and Richard DavisDavid and Vanessa DaytonCy and Paula DeCosse Fund of

The Minneapolis FoundationThe Denny Fund of

The Minneapolis FoundationRudolph W. Driscoll†

Sally J. EconomonRolf and Nancy EnghMr. and Mrs. John ForsytheConnie Fladeland and Steve FoxLeslie and Alain FréconN. Bud and Beverly Grossman

FoundationIeva M. GrundmanisAlfred and Ingrid Lenz HarrisonBryce and Paula JohnsonSamuel L. Kaplan and

Sylvia Chessen KaplanMichael F. and Gretchen G. Kelly and

the Kelly Family Foundation

Constance and Daniel KuninLynne LooneyMs. Becky MalkersonMary Bigelow McMillanBruce and Sandy NelsonAlbin and Susan NelsonTimothy and Gayle OberMrs. Michelle RoscittMr. and Mrs. Steven RothschildStephanie Simon and Craig BentdahlKevin and Lynn SmithVirginia L. and Edward C. StringerGregory C. SwinehartCatie Tobin and Brian NaasWilliam Voedisch and Laurie CarlsonCharles Allen Ward Fund of

The Saint Paul Foundation

Silver $2,500-$4,999AnonymousEric AanensonChloe D. AckmanMartha and Bruce AtwaterDr. Ford and Amy BellWilliam Biermaier and David HansonAlexandra O. Bjorklund

Mrs. Thomas B. CarpenterRachelle Dockman ChaseGary CollyardDr. James E. and Gisela CorbettMrs. Thomas M. Crosby, Sr.John and Arlene DaytonMary Lee and Wallace DaytonLisa and Patrick DenzerMr. and Mrs. John DonaldsonRondi Erickson and Sandy LewisTom and Lori FoleyChristine and W. Michael GarnerMr. and Mrs. R. James GesellBill and Eleanor GoodallR. Thomas Greene, Jr.Dan and Jill GustafsonMr. John HarrerSharon and Bill HawkinsDorothy J. Horns, M.D., and

James P. RichardsonJay and Cynthia IhlenfeldDr. and Mrs. Robert JosselsonStan and Jeanne KaginMr. and Mrs. William KlingMrs. James S. KochirasMr. and Mrs. Ted KolderieDavid MacMillan and Judy Krow

Mary K. Mahley Family FoundationRoy and Dorothy Ann MayeskeHarvey T. McLainJames and Judith MellingerMrs. John M. Musser†

Nelson Family FoundationRichard and Nancy NicholsonWilliam and Barbara PearceMarge and Dwight PetersonJames J. Phelps and

Nancy McGlynn PhelpsMr. and Mrs. William PhillipsLila and Bruce PriebeMichael L. Reed and Jane TilkaPaul and Mary ReyeltsKen and Nina RothchildE. Elaine and Roger SampsonKay Savik and Joe TashjianFred and Gloria SewellDr. Joseph Sha∂er and

Dr. Kristina Sha∂erFrank and Lynda SharbroughKathi SharnbergTanrydoon Fund of

The Saint Paul FoundationBernt von Ohlen and Thomas NicholNancy and Ted Weyerhaeuser

Individual Donors: The Camerata Circle

Individual Donors: The Bel Canto Circle

Bel Canto $10,000+Karen BachmanMrs. Judson Bemis†

Mary and Gus BlanchardRod and Susan BorenDarlene J. and Richard P. CarrollRusty and Burt Cohen

Ellie and Tom Crosby, Jr.Julia W. DaytonBrad and Diane EnglandDolly J. FitermanJohn and Ruth HussHeinz and Sisi HutterLucy Rosenberry Jones

The Art and Martha Kaemmer Fundof HRK Foundation

Warren and Patricia KellyPeter J. KingPatricia LundThomas and Barbara McBurneyMargaret Meyers

Diana and Joe MurphyMrs. George T. PennockJose Peris and Diana GuldenElizabeth and Andrew RedleafConnie and Lew RemeleMary W. VaughanC. Angus and Margaret Wurtele

Artist Circle $1,000-$2,499Anonymous (3)An Anonymous Gift from a Donor

Advised Fund of The Saint PaulFoundation

Cordelia Anderson and John Humleker

Kim A. AndersonPaula AndersonLowell Anderson and Kathy WelteJaime Andrews and

Jane Kolp-AndrewsJohn Andrus, IIIMartha Goldberg Aronson and

Daniel AronsonMr. and Mrs. Edmund P. BabcockDr. Thomas and Ann BagnoliSue A. BennettJohn and Jennifer Bernstein Mr. and Mrs. Paul G. BoeningJudith and Arnold BrierJohn and Joan BrooksConley Brooks FamilyJoe and Judy CarlsonBruce CarlsonJoan and George CarlsonDr. Stephen and Beth CragleRuth and Bruce Dayton

Thomas and Mary Lou DetwilerMona Bergman Dewane and

Patrick DewaneSia DimitriouMr. and Mrs. Carl B. Drake, Jr.Neil EcklesSusan Engel and Arthur EisenbergEkdahl Hutchinson Family Fund of

The Minneapolis FoundationEster and John FeslerHenry and Anice FleshSalvatore S. FrancoPatricia R. FreeburgBradley A. Fuller and

Elizabeth LincolnDavid and Kathy GalliganLois and Larry GibsonMr. and Mrs. Paul D. GrangaardRosalie He∂elfinger Hall Fund of

The Minneapolis FoundationDon and Arlene HelgesonJohn S. and Rosmarie HellingDoug HeltneCli∂ton K. Hill and Jody RockwellBill and Hella Mears HuegJames L. JelinekDale A. JohnsonJacqueline Nolte Jones

Charlotte and Markle KarlenErwin and Miriam KelenLyndel and Blaine KingE. Robert and Margaret V. Kinney

Fund of The Minneapolis Foundation

Kenneth Kixmoeller, Jr. and Kim Otness

Lisa C. KochirasMaria KochirasDr. Robert L. Kriel and

Dr. Linda E. KrachHelen L. KuehnAnita KuninMark and Elaine LanderganCarl Lee and Linda Talcott LeeClinton and Judith LeeIlo and Margaret LeppikJerry and Joyce LillquistBenjamin Y. H. and Helen C. LiuBill LongLeland T. Lynch and Terry Saario Fund

of The Minneapolis FoundationMr. and Mrs. Robert MandersMargery MartinMr. and Mrs. Edward L. MillsTom Murtha and Stefanie LenwayMrs. John H. Myers

Donald E. NotvikSusan OkieBrian and Julia PalmerKaren B. PaulWilliam and Suzanne PayneJames and Constance PriesFrances and George ReidKatharine S. ReynoldsLois and John RogersBurton G. Ross and Cynthia

Rosenblatt Ross Fund of The Minneapolis Foundation

Dr. and Mrs. Richard J. SchindlerTom Schnettler and Cheryl AppeldornLucy T. SearlsRenate. M. SharpStanislaw and Krystyna SkrowaczewskiHelene and Je∂ SlocumJulie Jackley SteinerDon and Leslie StilesJames V. and Susan W. SullivanMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonBill Venne and Douglas KlineEllen and Fred Wells

Individual Donors: The Artist Circle

These lists are current as of April 1, 2004, and include donors who gave gifts of $1000 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 Assistant at 612-342-9553.

For information regarding making a contribution to The Minnesota Opera, please call Donor Relations at 612-342-9569.

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Corporations and Foundations

Minnesota Opera Sponsors

Bel Canto $10,000+3MAllianz Life Insurance of North AmericaAmerican Express Minnesota Philanthropic Program Andersen FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationThe Bush FoundationThe Cargill FoundationDeloitteDeluxe Corporation FoundationEcolab FoundationGeneral Mills FoundationLowry Hill Private Wealth ManagementThe MAHADH Fund of HRK FoundationThe McKnight FoundationThe Medtronic FoundationMinnesota MonthlyMinnesota State Arts BoardRider BennettRogers and Hollands JewelersThe St. Paul CompaniesSpencerStuartTarget Stores, Marshall Fields, and Mervyn’s with

support from the Target FoundationThrivent Financial for LutheransTranstopTwin Cities Opera GuildU.S. Bancorp FoundationU.S. Bank, Private Client GroupWells Fargo Foundation Minnesota

Gold $5,000-$9,999ADC Telecommunications, Inc.Alice M. O’Brien FoundationBemis Company FoundationDorsey & Whitney FoundationJostens, Inc.Lindquist & VennumMcGladrey & Pullen, LLPPentair, Inc.RBC Dain Rauscher FoundationR. C. Lilly FoundationRahr FoundationRyland GroupStar Tribune FoundationThe Regis FoundationValspar FoundationWenger FoundationXcel Energy Foundation

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

Mary Griggs Burke FoundationRiver Chocolate CompanySchwegman, Lundberg, Woessner & Kluth, PASit Investment AssociatesTennant FoundationWest Group

Artist Circle $1,000-$2,499Alliance Capital ManagementAthwin FoundationBrock-White Co., LLCThe Burdick-Craddick Family FoundationThe C. A. Jackley FoundationCharles B. Sweatt FoundationDigital Excellence Inc.The Elizabeth C. Quinlan FoundationElmer L. and Eleanor J. Andersen FoundationFaegre & BensonHogan & HartsonHorton, Inc.Lawrence M. and Elizabeth Ann O’Shaughnessy

Charitable Income TrustLenthe Investment, Inc.Leonard, Street & DeinardMarsh USA, Inc.Maslon, Edelman, Borman & BrandMayo ClinicMcVay FoundationMinnesota Mutual FoundationPeregrine Capital ManagementRobins, Kaplan, Miller & CiresiThe Southways FoundationSt. Croix FoundationTozer FoundationU.S. Trust CompanyVirchow Krause & Company LLP

Season SponsorU.S. Bank, Private Client Group

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

Lucrezia Borgia, Ecolab

Passion, American Express Minnesota

Philanthropic Program

The Magic Flute, Rogers & Hollands Jewelers

Production Innovation SystemGeneral Mills

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

Season Preview CD SponsorLowry Hill Private Wealth Management

Camerata DinnersRider Bennett

Conductor AppearancesSpencerStuart

Promotional SupportMinnesota Monthly

Young Professionals Group Program SponsorRogers & Hollands Jewelers

Opera Nights OutFhima’s

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:

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The Bush Foundation of St. Paul, Minnesota, has pledged $650,000 over the

next three years to The Minnesota Opera. Each year of the grant comes with a

challenge to stimulate new and increased funding.

The Opera must raise $150,000 in new funding by June 30, 2004 to qualify

for the first year of the grant. The Bush Foundation will then double the

impact of each new gift. Opera lovers will be asked to partner with the Bush

Foundation to fuel the company’s continued success.

The three-year impact of this joint partnership will be $1.25 million. If the

Opera meets its $150,000 challenge by June 30, 2004, it will end the current

season with a balanced budget. The Bush Foundation is investing in the

business side of the Opera to ensure that quality will not be compromised.

Indeed, the quality will continue to grow.

This commitment to artistic excellence as a business strategy prompted the

following rave review in the Wall Street Journal:

While most American opera companies traded riskyprogramming for safer options this season, the Min-nesota Opera has taken a different approach to theeconomic downturn. The company is holding to itsartistic philosophy, which includes contemporary workand a bel canto work in every season. By sticking to itsartistic guns in the current season, The MinnesotaOpera has done “Passion” a huge service.

Wall Street Journal, March 2, 2004

After the final year of the Bush Foundation challenge gift, the Opera intends to

add another production to its season, going from four to five. “This grant will

have a profound impact on the

company and the community,”

according to The Minnesota Opera

President and CEO, Kevin Smith.

Contributions for the challenge grant

are currently being sought. For more

information, please call Kelly Classen

in the Development department at

612-342-9553.

The Minnesota Opera Receives Largest Foundation

The Bush Foundation gift comes with an immediate challenge: raise $150,000 in new and increased funding by June 30, 2004

Irini Tsirakidis in the title role of The Minnesota Opera’s 2004 Lucrezia Borgia.

Patricia Racette as Fosca, foreground, andWilliam Burden and Evelyn Pollock as Giorgio and Clara, background, in Passion.

29•

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Dear Friend,

The challenge gift from the Bush Foundation will

have a profound impact on The Minnesota Opera.

We need your help now!

We must raise $150,000 in new and increased gifts by June 30,

2004. As of May 3, we have raised $78,000. We simply must

succeed. Your gift will help us succeed. And the Bush

Foundation will double your gift.

Go to www.mnopera.org for a challenge update!

The Bush Foundation Challenge is timed with unprecedented

artistic achievement. In just the last five months, the company

has received these accolades:

Kudos to The Minnesota Opera … how come the Met isn’tbringing these works here? New York Times, December 28, 2003

Arguably the operatic event of the year. London critic Bruce Hodges, January, 2004

Montserrat Caballe, Beverly Sills and Joan Sutherlandenjoyed varying degrees of success in the part in recent decadesand it’s possible that Tsirakidis, who knows how to light up astage, tops them all. Minneapolis Star Tribune, January 26, 2004.

Our work is drawing world-wide

attention, and the Bush Foundation

challenge will build the funding

base to support continued success.

Every new dollar will count toward

the Bush Challenge and help ensure

our long-term artistic growth.

This is an exciting time. And we

need you! Please be generous when

you are contacted.

Kevin Smith

President

Gift in Its History

$150,000$150,000Bush ChallengeBush Challenge

$150,000Bush Challenge

$78,000$78,000raised so farraised so far

$78,000raised so far

On March 3, 2004 our Artistic Director, Dale Johnson, received the

following letter from the chair of the National Endowment for the

Arts. It’s further proof of our national stature.

Dear Dale Johnson:

I have just received the announcement of your new season. All I can say isthat any opera company that can o∂er new productions of Maria Padillaand Nixon in China in the same short season has my profound admiration.I have never seen either opera, though I know both scores backwards and for-ward. I hope you create huge successes with both.

All the best,

Dana GioiaChairman, National Endowment for the Arts

Washington, D.C.

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Now through Sun. May 23 (Performance times vary)Ordway Center presents Hot ‘n ColeCelebrating the genius of Cole PorterMcKnight Theatre$35 - $45 ASL/AD performance: Sat. May 15, 2 p.m.

Sat. May 15 – Sun. May 23(Performance times vary)The Minnesota Opera presentsThe Magic FluteMozart’s gentle fairy tale leads us into a luminous,compassionate utopia.$28.50-$86.50

Fri. May 28, 8 p.m.; Sat. May 29, 8 p.m.The Saint Paul Chamber Orchestra presentsMozart’s ImpressarioAndreas Delfs, conductorJohn de Lancie, narratorStrauss Le Bourgeois Gentilhomme

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JULY

Tues. July 20 – Sun. Aug. 1(Performance times vary)Ordway Center presents The King and IStarring Sandy DuncanBeloved musical treasure of dance and song1996 Tony Award® for Best Musical RevivalMain Hall $38 - $60ASL/AD performance: Sat. July 31, 2 p.m.

AUGUST

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TICKETS ANDINFORMATION

Ordway Center for the Performing Arts651-224-4222 ordway.orgThe Minnesota Opera651-224-4222 mnopera.orgThe Minnesota Orchestra612-371-5656 minnesotaorchestra.orgThe Saint Paul Chamber Orchestra651-291-1144 thespco.orgThe Schubert Club651-224-4222 schubert.org

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•32

Beethoven. Schikaneder desperately

tried to lure the up-and-coming com-

poser to the operatic stage and o∂ered

him his own libretto to Alexander, a

work that was intended for the grand

opening. Beethoven was hesitant and

sought advice (and lessons) from vet-

eran composer Antonio Salieri. By that

time Beethoven had moved on to an-

other Schikanederian opus, Vesta Feuer(Vesta’s Fire), but couldn’t quite

make the librettist’s casual treat-

ment of the ancient Roman story

work. With an eye to the current

vogue for French rescue opera, he

chose a story by Jean-Nicolas

Bouilly, which would become Fi-delio (1805).

By this time, Schikaneder’s luck

had run out, and he was forced to

sell his interest to his partner,

Bartholomäus Zitterbarth, in

1802. Schikaneder stayed on as a

director, but the impresario’s for-

mula of presenting singspiel inter-

spersed with works of a higher

caliber couldn’t keep up with the

new Parisian works by Grétry,

Méhul and Cherubini. He was

forced to sell his expansive villa in

suburban Nussdorf, eventually lost

his mind and died in penury. Still,

a statistical account of his works is

noteworthy, with 57 amusements

created for the Theater auf der

Wieden alone, approximately half

of his total oeuvre. In nearly a

decade and half as a busy Viennese

producer he had mounted over 400

theatrical diversions, including opera,

ballet and spoken dramas.

the freemasonsA tradition that was codified in

1717, but traceable to the guilds of the

Middle Ages, Freemasonry prospered

during the enlightened 18th century.

But as the age turned to revolution,

the Craft became tainted with an air of

subversion, at least in royalist eyes. As

most of the founding fathers were Ma-

sons, and the American Revolution

was a act against the English monar-

chy, Freemasonry became synonymous

with rebellion and free thinking. The

French Revolution, just two years be-

fore The Magic Flute’s premiere, was

also supposed to be fueled by Masonic

beliefs, in particular with their com-

mon identifying trademarks of “Lib-

erty, Fraternity and Equality.” Though

initially tolerant, Joseph II would later

greatly reduce the number of lodges in

Austria to only three. After the execu-

tion of French Queen Marie Antoinette

in 1793, their nephew, Emperor Fran-

cis, completely eradicated Freemasonry

in Austria. The ban would last for over

100 years.

Was The Magic Flute intended to be

propaganda for the vanishing Craft? As

recently as 1787 Schikaneder had

joined a Regensburg Freemason lodge,

but fell into disfavor as a result of his

many a∂airs with as many women.

Mozart had been a member since De-

cember 1784, and though he had com-

posed some Masonic music (songs,

cantatas, funeral music), his attendance

at the lodge appeared to wane after a

few years. It is therefore curious that

both artists would devote so much at-

tention to Freemasonry when compos-

ing their new opera, for it appears TheMagic Flute is laced with Masonic sym-

bolism. The predominance of the num-

ber three and i t s mult ip le s i s a

case-in-point – the triangle has partic-

ular significance to the Masons. The

opera makes a trinity of almost every-

thing: three ladies, three boys, three

trials, three temples, threefold utter-

ances and the list goes on. The overture

and Act II finale are set in the key E-flat

(three flats) with the opera proper be-

ginning in the Sturm und Drang rela-

tive minor of C. The overture opens

with five solemn chords (five is another

sacred number) posed in three inver-

sions to a syncopated rhythm (anapesti-

cally repeated three times – often

described as the secret “knock” of

the lodge – when they recur at the

beginning of the development sec-

tion and later during the rituals

opening Act II). The fugal develop-

ment section is also echoed later in

the work, seen in the contrapun-

tally inspired setting of the Two

Men in Armor in Act II as Tamino

prepares for the trials of fire and

water (the polyphony has been in-

terpreted as representing the high

intel lect and equality of the

Order). Mozart composed the

overture and the Act II March of

Priests days before the premiere so

it’s not surprising they are so

strongly attached to the Masonic

message. The Lutheran chorale-

style march reveals yet another

trait of Masonic tradition – one

could be a member and still ob-

serve another religion. The preva-

lent use at decisive moments of the

basset horn (a sort of alto clarinet)

and the trombone, both associated

with Masonic music and neither a

staple of the opera orchestra just yet,

are further Masonic touches, as is the

recurrence of E-flat major (Tamino’s

aria “Dies Bildnis, Pamina and Pa-

pageno’s duet, “Bei Männern,” the Act

II finale), and its three-sharp sister, A

major (the Three Spirits’ “Seid uns

zum zweiten Mal willkommen” in Act

II). The presence of the Speaker also de-

notes a hierarchal position of the lodge.

In his highly detailed book, The MagicFlute, Masonic Opera (Knopf, 1971),

Jacques Chailley scrutinizes the plot,

detecting the existence of further tests,

both air and earth for both Pamina and

Tamino. All four trials were important

to the Masons’ initiation rites and are

drawn from Terrasson’s novel Séthos,from a temple inscription the title

character examines: “He who walks

this way alone, and without looking

Continued from page 15

Mikhail Krutikov as Sarastro in The MinnesotaOpera’s 1997 The Magic Flute

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ebehind him, will be purified by fire,

water and air: and if he can conquer

the fear of death, he will go out again,

out of the bowels of the earth and see

the light again …”

In addition to being seditious, the

brotherhood of Freemasons was ac-

cused of being misogynist, and those

elements speak clearly throughout the

opera. The haranguing Queen of the

Night is the most obvious stereotype

a s b e ing bo th a

wicked, deceptive and

narrow-minded sover-

eign (a clear jab at the

dead Empress Maria

Theresa) and a jilted

woman hell-bent on

revenge (one might

suppose her and Saras-

tro were once lovers,

possibly even married

with Pamina as their

o∂spring – there is no

hard evidence to the

contrary). There is also

a peppering of caution-

ary advice to beware

the wiles of women. Granted, Masonic

lodges excluded women, but in France

there were separate lodges for both

sexes. And as it turns out, Pamina is al-

lowed to undergo the trials of fire and

water with Tamino, and it is her

strength and wisdom that gets them

through the harsh experience. Further,

it seems Sarastro’s realm is not entirely

female free, as we are informed by the

choruses at the end of each act. Likely

the light-hearted sexual stereotypes are

due to the culture of the day – remem-

ber Mozart’s two previous operas, Cosìfan tutte and La clemenza di Tito, are less

than flattering to the “fairer sex.”

One final faulty derision toward the

Freemasons – that members of the

Craft caused Mozart’s death for reveal-

ing too many secrets – has long since

be en d i s c r ed i t ed . A f t e r a l l ,

Schikaneder didn’t die until 1812,and then of natural

causes. To the con-

trary, generosity was a

trait espoused by the

Masons, who helped

each other out during

hard times. Fellow

Freemason Michael

Puchberg often as-

sisted Mozart finan-

cially during his final

years. And following

the composer’s death,

the Order dipped into

its fund for widows to

help Constanze pay for

her husband’s funeral.

Set and costume design by Susan Benson

Good listening {TAKES PRACTICE.}

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