minnesota opera's la clemenza di tito program
DESCRIPTION
2001-2002 SeasonTRANSCRIPT
Wolfgang Amadeus Mozart
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Minnesota Opera Volunteers . . . . . . . . . . . . . . . . . . . . . . . . 6
Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . 7
La clemenza di Tito . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Background Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . 13
Pietro Metastasio and the Tradition of Opera Seria . . . 14
A Conversation with Susanne Mentzer . . . . . . . . . . . . . 15
The Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Gala Thank You. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Opera Broadcasts on MPR . . . . . . . . . . . . . . . . . . . . . . . . . 20
The Minnesota Opera Chorus . . . . . . . . . . . . . . . . . . . . . . . 21
The Saint Paul Chamber Orchestra . . . . . . . . . . . . . . . . . . . 21
Sta∂ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Coming Up: La bohème. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The Minnesota Opera Fund. . . . . . . . . . . . . . . . . . . . . . . . . 26
The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson
Chair, Board of Directors Virginia L. Stringer
The Minnesota Opera, 620 North First Street
Minneapolis, MN 55401 (612) 333-2700
www.mnopera.org
The Minnesota Opera
is a member of OPERA America.
This activity is made possible in part by a grant provided by the Minnesota State ArtsBoard through an appropriation by the Minnesota State Legislature. In addition, thisactivity is supported in part by a grant from the National Endowment for the Arts.
January 2002
The Minnesota Opera Programis published by Skyway Publications, Inc.
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Photographs,artworks and personal itemsfrom their homesin Sweden areused to explorethe warm rela-tionship betweenthese remarkableartists and their families.
TREASURES FROM THE
PERSONAL COLLECTIONS OF
ANDERS ZORN & CARL LARSSON
Glimpse intothe lives ofAnders Zorn{1860-1920} &Carl Larsson{1853-1919},two of Sweden’smost famousartists.
FEB.13 -MAY 19, 2002
The American Swedish Institute
2600 Park AvenueMinneapolis, MN 55407
Tel: 612.871.4907
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Board of Directors
Dominick ArgentoH. Wesley BalkPhilip BrunelleElizabeth Close
Dolly FitermanCharles C. FullnerNorton M. HintzDonald W. Judkins
David P. KeefeLiz KochirasJevne PennockPatricia H. Sheppard
Honorary Directors
Julia W. Dayton, Director Emeritus James A. Rubenstein, legal counsel,Moss & Barnett
Virginia L. Stringer, Chair Susan S. Boren, Vice ChairBruce Nelson, Secretary Loren Unterseher, Treasurer
Kevin Smith, President & CEO
August J. AquilaMartha Goldberg
AronsonKaren BachmanPatricia BauerSusan J. CrockettEllie CrosbyRolf EnghThomas J. FoleyJohn G. Forsythe
Steve FoxR. Thomas Greene, Jr.Heinz HutterPaula R. JohnsonMichael F. Kelly, Jr.Edward J. KeransSarah B. KlingLynne E. LooneyThomas R. McBurneyDaniel I. Malina
Diana E. MurphyJose PerisKimberly S. PuckettConnie RemeleSteven M. RothschildLucy T. SearlsGregory C. Swinehart Catie Tobin
Welcome. U.S. Bancorp Piper Jaffray ispleased to help bring you The MinnesotaOpera’s production of La Clemenza di Tito.Sponsoring the opera season is just partof our commitment to the arts and qualityof life in our community.
Staging this fine performance takes team-work. From the conductor to the cast mem-bers to the costume designers, manyindividuals are working together to enter-tain you. This team includes managementand patrons – even the audience – whomake a successful production possible.
At U.S. Bancorp Piper Jaffray, we embraceteamwork. We work with clients to under-stand their needs and accomplish theirgoals. We work with colleagues throughoutU.S. Bancorp to provide a comprehensiverange of financial solutions. And we workwith The Minnesota Opera and other high-quality organizations to enrich our commu-nity.
We’re proud to be part of the team effortyou’re about to experience. Enjoy the per-formance.
Andrew DuffPresident and CEOU.S. Bancorp Piper Jaffray Minnesota Opera Volunteers
The following volunteers contribute their time
and talent in support of key activities of The Minnesota Opera.
Ann Albertson
Laurel Anderson
Jamie Andrews
Gerald Benson
Matt Bluem
Linda Brandt
Jim Brownback
Sue Brownback
Meredith Cain-Nielsen
Kathy Cameron
Joann Cierniak*
Tricia Clarke*
Caroline Coopersmith
Lindsay Craig
Beverly Dailey
Marcia del Castillo
Lee Drawert
Judith Duncan
Sally Economon
Mary Sue Fiola
Jane Fuller
Joan Gacki(Volunteer Chair)
Christine A. Garner
Heather Gehring
Juhi Gupta-Gulati*
Mark Gustin
Mary E. Hagen
John Harris*
Kriste.n Heimerl
Anne Hesselroth
Alisandra Johnson
Nancy Johnson
Jeanie Johnston
Susan Kalmer
Dianne Kelly
Eleanore Kolar
Lucinda Lamont
Shirley Larson
Rita Lavin
Rochelle Lockwood
Rusty Low
Randi Quanbeck Lundell
Jennifer Madvig
Joan Masuck
Mary McDiarmid
Claire McPherson
Verne Melberg
Warren Mitlyng
Linda Morey
Doug Myhra
Dan Panshin
Pat Panshin
Kaye Peters
Sydney Phillips
Bill Phillips
Julia Porter
Jack Richter
John Rosse
Florence Ruhland
John Sauer*
Michael Silhavy
Wendy Silhavy
Wendy Sott
Dawn Stafki
Harry D. Swepston, III
John Thompson
Anne Townsley
Doris Unger
Carolyn Wahtera
Barbara Willis*
Jeremy Wright
Melissa Zschunke
*Lead volunteer
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Keri Picket
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Welcome to today’s perfor-
mance! You are in for an op-
eratic treat.
We have assembled on our
stage tonight consummate
musicians. Once again The
Minnesota Opera partners
with The Saint Paul Chamber
Orchestra, and we have an ex-
citing cast of international
operatic giants together on
the same stage. Tenor Bruce Ford, appearing as Emperor
Tito, returns to The Minnesota Opera stage after an ab-
sence of 15 years. It is great to have him back. We wel-
come back one of our favorites, soprano Brenda Harris, in
her trademark role of the scheming fury Vitellia. The in-
ternational superstar, mezzo-soprano Susanne Mentzer,
makes her company debut in the pants role of Sesto.
This production also allows us to showcase the talents of
our Resident Artists past and present. Soprano Ana Ro-
driguez sings Servilia, Sesto’s sister, and former Resident
Artist, mezzo-soprano Lori-Kaye Miller, returns as Annio.
Finally, Alfred Walker appears in his company debut as
Publio.
The production itself, distinctive in its own right, will
travel to Covent Garden later this spring.
I am delighted you are here to experience what will be
without a doubt a legendary Minnesota Opera perfor-
mance.
Dale Johnson
Artistic Director
Welcome to La clemenza diTito, a new production for a
new year.
I would like to start the new
year here at The Minnesota
Opera by expressing this
company’s gratitude to all of
you in the community. Not
only have you continued your
support during the tumult of
2001, but most of you have
increased your support in the context of a di∑cult econ-
omy. This is a remarkable testament to the resilience and
generosity of our community as well as your commitment
to The Minnesota Opera. I speak on behalf of the entire
company when I say we are proud to live in a community
that places high value on the arts.
Our first production of the season, Lucia di Lammermoor,sold to 88% capacity at the box o∑ce. While that number
is slightly lower than we projected, under recent circum-
stances we are extremely pleased. Our Opening Night
Gala was also a tremendous success, with attendance and
funds raised exceeding both record numbers and expecta-
tions.
As we enter 2002 with this new Mozart coproduction, we
are more excited than ever about the possibilities our fu-
ture holds and about the art we are able to provide to the
community which has been so supportive.
Kevin SmithPresident and CEO
Notes from The Leadership
from Kevin Smith from Dale Johnson
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Music by Wolfgang Amadeus MozartLibretto by Caterino Mazzolà
after a libretto by Pietro Metastasio (1734)
World premiere at the National Theater, PragueSeptember 6, 1791
January 26, 29, 31, February 2 and 3, 2002Ordway Center for the Performing Arts
Sung in Italian with English captions
Conductor . . . . . . . . . . . . . . . . . . . . . .Harry BicketStage Director . . . . . . . . . . . . . . . . .Stephen LawlessSet Designer . . . . . . . . . . . . . . . . .Benoît DugardynCostume Designer . . . . . . . . . . . . .Sue WillmingtonLighting Designer . . . . . . . . . .Joan Sullivan-GentheWig Master and Makeup . . . . . . . . . . . .Tom WatsonAssistant Conductor . . . . . . . . . . . . .Je∂rey DomotoChorusmaster . . . . . . . . . . . . . . . . . . .Joseph LawsonContinuo . . . . . . . . . . .Peter Howard, Bruce StasynaProduction Stage Manager . . . . . . . .Alexander FarinoEnglish Captions . . . . . . . . . . . . . . . .Adam Pollock
The CastTito, Emperor of Rome . . . . . . . . . . . . . . . .Bruce FordVitellia, daughter of Vitellius . . . . . . . . .Brenda HarrisSesto, friend of Tito . . . . . . . . . . . . . .Susanne MentzerServilia, sister of Sesto . . . . . . . . . . . . . .Ana RodriguezAnnio, friend of Sesto . . . . . . . . . . . .Lori-Kaye MillerPublio, prefect of the praetorian guard . . .Alfred Walker
Senators, ambassadors, praetorian guards, lictors, people of Rome
Setting: Rome, c 80 ad
La clemenza di Tito is sponsored by American Express Minnesota Philanthropic Program
Five octave Mozart-era Stein fortepiano provided by The Schubert Club.
Scenery and costumes for this production are jointly owned by
The Minnesota Opera and The Dallas Opera and were constructed by
The Dallas Opera Stage Scenery and Costume Shop.
La clemenza di Tito by Wolfgang Amadeus Mozart
Edited for the New Mozart Edition (Neue Mozart-Ausgabe) by Franz Giegling.
By arrangement with Baerenreiter-Verlag, publisher and copyright owner.
The appearances of Lori-Kaye Miller, Ana Rodriguez and Alfred Walker,
regional finalists of the Metropolitan Opera National Council Auditions, is
made possible through a Minnesota Opera Endowment Fund established for
Artist Enhancement by Barbara White Bemis.
The Minnesota Opera season is proudly sponsored by
U.S. Bancorp Piper Ja∂ray.
OperaInsights is sponsored by SpencerStuart.
The 2001-2002 Camerata Circle Dinners are sponsored by Rider, Bennett,
Egan & Arundel.
Promotional support provided by Minnesota Monthly.
Special thanks to Miller Meester advertising for making
the 2001-2002 season preview recording possible
Performances of La clemenza di Tito are being taped for delayed broadcast on Minnesota Public Radio, KSJN 99.5 in the Twin Cities, in June 2002.
See page 20 for details.
Act I, scene ii
Act II, scene iii
The Hapsburgs desperately needed
some good press. Just two years before
Leopold’s ascension, the French Revolu-
tion rocked the monarchical system, de-
posing his own sister, Queen Marie
Antoinette. Their brother, Joseph ii, had
proved himself ine∂ectual during his
final years, having made significant re-
forms that disquieted the nobility and
engaged Austria in an unpopular war
with the Ottoman Empire. Joseph’s
death in 1790 left the throne open to
Leopold, who quickly established power
through a series of coronation cere-
monies, first as the Holy Roman Em-
peror, then as King of Hungary and
finally as King of Bohemia. Thankfully
he had 25 years of experience under his
belt as Grand Duke of Tuscany, where he
had been celebrated for his enlightened
rule.
The Bohemian Estates wished to
honor their monarch with a week of fes-
tivities, including a new opera. Haps-
burg tradition dictated that it be an
opera seria to a text by the celebrated
18th-century librettist Pietro Metastasio.
It was most fortunate that one of his
texts happened to be based on the Em-
peror Titus, another benevolent ruler,
perhaps one of just a handful in the long
roster of corrupt Roman despots.
Titus came to the fore in the wake of
a civil war following Nero’s death, and
with it the end of the Julio-Claudian dy-
nasty. In three years, Rome had had four
emperors – Galba, Otho, Vitellius and
Vespasian – the first three having
su∂ered violent deaths. With the rise of
Vespasian, however, the
dust began to settle, and
his rule was to last ten
years – he would be the
first Roman emperor to
die a natural death.
The reign of Vespasian’s
son Titus was to last only a few
years (79 – 81 ad), but it was
marked by several major events.
The eruption of Mount Vesuvius
leveled Pompeii and Hercula-
neum. A major fire left portions of
the Eternal City in ruins. And a
particularly virulent return of the
plague threatened Rome’s population.
The two-year period also saw the com-
pletion of the great Flavian amphithe-
ater, the Colosseum, begun by Vespasian
in 70 and christened with a reenactment
of a famous naval battle with 3,000 par-
ticipants adrift in an entirely flooded
Colosseum floor. Also dating from the
period is the Arch of Titus, which was
built to honor the Emperor’s victory in
Judea during the Jewish wars a decade
before.
Titus’s character (marked by cruelty,
greed, suspected forgery and sexual
promiscuity) was not as stellar as the
opera’s eponymous hero, but he did
clean up his act somewhat once he be-
came emperor. Historically speaking,
Titus was responsible for granting relief
to volcano survivors, and as the 2nd-cen-
tury historian Suetonius indicates, he
did survive an assassination plot and
pardoned the insurgents. This became
the basis for Metastasio’s drama, which
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Notes by David Sander
Tito can do no wrong. He pardons con-
spirators, donates money to disaster
victims, disregards the words of libelers
and slanderers, and marries not for love, but
for the good of the empire. He is the poster
boy for 18th-century “enlightened absolutism,”
the perfect propaganda vehicle for recently
appointed Emperor Leopold ii, known to his peo-
ple as the “German Titus.”
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otherwise is mostly fiction.
Suetonius also mentions an un-
named daughter to Vitellius, though
there is no evidence she was involved in
the scheme to overthrow Titus. The Jew-
ish princess, Berenice, also comes to us
from the history books – Titus became
involved with her during his governor-
ship of Judea, and she later joined him
in Rome. The prospect of marriage was
indeed discouraged by the Roman peo-
ple, who found Berenice’s marriage to
her uncle King Herod Agrippa and in-
cestuous relationship with her brother
Herod Agrippa ii dis-
tasteful.
In addition to Sue-
tonius’s chroni-
cles, Metastasio
was inspired by
French classical
theate r wi th
Racine’s Andromaque (1667) and
Corneille’s Cinna, ou la clémence d’Auguste(1642). His libretto was first set in 1734
to music by Antonio Caldara for another
Hapsburg emperor, Charles vi (grandfa-
ther of Leopold), and not surprisingly,
was intended to flatter the ruling
monarch, though the librettist made a
shallow e∂ort to disguise that fact. Since
its premiere, his libretto for La clemenzadi Tito was set more than 40 times dur-
ing the 18th century – it became his
most popular work.
Metastasio was dead by the time the
Bohemian commission came around,
and the task of updating the text fell
into the hands of Caterino Mazzolà, the
recently appointed Caesarian poet to the
Austrian Empire. It was common prac-
tice to modify a Metastasio libretto to
suit one’s own tastes and purposes, and
this had been done in each previous in-
carnation. Mazzolà skillfully whittled
down the text, eliminating some 700
lines and creating a few new ones, incor-
porating them into ensembles and cho-
ruses (of which Metastasio had next to
none). He reduced the opera from three
to two acts and focused the action on
three characters, eliminating virtually all
of the subsidiary plots. He and Mozart
breathed life and humanity into Metas-
tasio’s statuesque characters, fleshing out
Vitellia as a hell-bent fury thirsty for
vengeance, building upon Sesto’s inter-
nal conflict between his passion for a
woman and love of a friend, and lending
compassion to Tito’s struggle to temper
his personal tragedy with public duty.
The Metastasio/Mazzolà political al-
legory not only shows Titus as a perfect
individual, but a skillful manipulator of
the people. Rebellions were a hot issue
at the end of the 18th century, and the
double-edged sword is very clear – the
ruler can be both kind and cruel, what-
ever the situation demanded. The drama
portrays a monarch faced with a violent
uprising but able to successfully quash it
– an important message to send during a
particularly unsettling period of history.
Timing is everything, and circum-
stance played a crucial role in the devel-
opment of the coronation opera.
Unfortunately the Bohemian nobles did
not allot very much time between their
decision to create a new work and the day
of its premiere. Inquiries began in July,
but Mozart was not the first choice. That
honor fell to Antonio Salieri, kapellmeis-
ter of the Imperial court, who had the
good sense to decline given his workload
at the moment – his star pupil (and assis-
tant) was composing at Esterháza in lieu
of Franz Joseph Haydn, who was in turn
delighting audiences in London with his
symphonies. The impresario in charge of
the project, Domenico Guardasoni, next
approached Mozart, whom he had
known from two years prior. In fact, at
that time they may have discussed the
possibility of setting La clemenza di Tito –
evidence suggests Mozart had some
sketches for the opera already completed.
This may have guided Mozart’s deci-
sion to accept the commission, given he
had less than two months to compose it.
Even though he was committed to other
work, he was still desperately short of
cash, and a second child was due at any
time. He also aspired to a posting as sec-
ond kapellmeister in Leopold’s new
regime and hoped to impress the Em-
peror with a reminder of their past en-
counters. The composer set aside his two
other major projects, a somber requiem
and a German singspiel, and wrote the
score at a rapid pace.
The reception at the premiere sur-
vives in an anecdote, a sneer made by
Empress Maria Luisa calling the new
work “German trash.” The remark sur-
vives only in spoken lore, and it would
be surprising if the royal couple found
disdain in all of Mozart’s music – the
coronation celebrations are peppered
with performances of his other works,
and the Emperor and Empress had just
attended a production of Don Giovannionly a few days before. One senses that if
the remark is true, Maria Luisa would
have been referring to his treatment of
opera seria, the favored genre of the Tus-
cany court and one to which (they
thought) only could be done justice by
an Italian composer. Nonetheless, the
people took their cue, and further per-
formances of La clemenza di Tito did not
sell out. The opera closed on September
30, 1791, coincidentally on the same
day as the opening of The Magic Flute in
the suburbs of Vienna.
Still, the opera had a long life ahead
of it even if Mozart didn’t. Following his
death, Constanze Mozart made selec-
tions from the work a staple in her
benefit concerts intended to raise money
for her struggling family. La clemenza diTito became one of Mozart’s most popu-
lar operas during the early part of the
19th century until Romantic sensibility
put it in the shadows for many decades.
Only during the last 25 years has the
opera returned to the standard repertory
and is now valued as it should be – a
jewel in the crown of the great com-
Mazzolà and Mozart breathed life and humanity into Metastasio’s statuesque characters
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Synopsisact i
Scene one Vitellia, daughter of the de-
posed emperor Vitellius, is furious
over Tito’s plans to marry the Judean
princess Berenice. Vitellia feels she
has been overlooked as the obvious
choice as Tito’s consort, thereby
mending the fence between
powerful Roman factions. She
has enticed Sesto to incite a riot
designed to overthrow and murder
Tito. Sesto is hesitant – Tito is a close
friend and a good emperor – but his
love for Vitellia is all-consuming. Annio
enters with news that Tito’s marriage
plans are not popular with the peo-
ple, and therefore Berenice has de-
parted from Rome. Tito has sent
for Sesto. In an aside, Vitellia
tells Sesto to defer her orders as
there may still be a place for
her in Tito’s heart.
Annio loves Sesto’s
sister Servilia and believes
the time is right to sol-
emnize their union. He
asks his long-time friend to
help him obtain the emperor’s
consent.
Scene two The people praise their
emperor as Publio announces his
confirmation as “Father of the
State.” A temple shall be built,
and the annual tribute is o∂ered
in his honor. Tito modestly de-
clines the temple and the trea-
sures, accepting only the love of his
people. He orders the tribute be given
as relief to the survivors of Vesuvius,
their villages having been reduced to
ashes by the volcano’s eruption. As the
people withdraw, Tito asks that Sesto
and Annio remain. He announces that
since he cannot marry for love, he shall
for friendship and asks for Servilia’s
hand, thereby bringing Sesto’s family
closer into the royal fold. Privately both
Sesto and Annio are horrorstruck –
though Sesto tries to explain the situa-
tion, Annio nobly confirms that the al-
liance is a good one and that Servilia is
worthy of Tito’s greatness.
Annio gives Servilia the terrible
news, yet she counters that he is her only
true love. She will talk to the emperor.
Scene three Publio gives Tito a docu-
ment naming those who have dared
to besmirch the names of the em-
perors, past and present, yet Tito
advises him to pay no mind to the
matter – it is better to forgive.
They are interrupted by Servilia,
who begs an audience with the em-
peror. Though honored by his o∂er,
she boldly declares that her heart
belongs to another. Tito releases
her from the obligation to the
empire and blesses her marriage
to Annio.
Vitellia encounters Servilia
and bitterly o∂ers her new sov-
ereign a token of respect.
Servilia cryptically replies
that the throne still may be Vitel-
lia’s, which the latter takes as an insult.
Her angers flares as she sends for Sesto,
whom she berates for putting o∂ the re-
bellion. Again she uses her wiles to win
his heart, and he begrudgingly agrees to
her plan. After Sesto leaves, Publio in-
forms Vitellia that she has been se-
lected to become Tito’s bride. She
tries to stop Sesto, but it is too late
– the insurrection has begun.
Scene four Alone, Sesto considers
the consequences of his treaso-
nous act. A fire breaks out in
the capital as the conspiracy
unfolds. A crowd of horrified
onlookers gathers.
— intermission —
act ii
Scene one Sesto believes Tito to be
dead, but Annio assures him
that Tito lives – another man
took the seemingly deadly
blow. Sesto confesses to Annio
that it was he who incited
the riot intended to assassinate the
emperor. He advises his friend to pro-
tect Tito from any further harm. Annio
suggests that Sesto throw himself at
Tito’s mercy, using his own virtue as his
best defense.
Vitellia, however, demands Sesto
leave Rome at once, before knowledge
of his role in the siege is discovered. Her
e∂orts are in vain – Publio arrives to
place Sesto under arrest. The man he
supposed was Tito did not die and has
divulged the details of the coup. Vitellia
has a moment of remorse for causing his
downfall.
Scene two The people celebrate the
suppression of the rebellion and
Tito’s safe return to the seat of
power. Publio announces the
commemorative games are
about to begin, but Tito hesi-
tates, fearing Sesto’s fate be-
fore the Senate. He doesn’t
believe his friend could have
betrayed him. Annio enters,
begging for mercy on
Sesto’s behalf. During his
trial Sesto confessed to the evil
deeds and has been condemned to die.
Left alone Tito considers his friend’s de-
ceit but can’t sign the death sentence
before speaking to him once more. He
rues the unhappy fate of those in power
who must live in constant fear of their
friends and enemies.
Before the emperor, Sesto confirms
his guilt, claiming weakness but refus-
ing to name his accomplice. Angered by
Sesto’s reluctance to justify his treach-
ery, Tito agrees to the execution, only to
falter once again after Sesto has left his
presence. His love for his friend is
greater than the need for revenge, and
he privately determines to save Sesto’s
life.
Vitellia learns of Sesto’s death sen-
tence and suspects that she has
been implicated in the plot.
Annio and Servilia encourage
her to use her influence as the
future empress with Tito –
they don’t understand why
she tarries. Left alone, Vitellia
gathers her resolve to come
clean with the truth.
Scene three Tito orders that the con-
demned man be brought before
him, relishing his secret design to o∂er
a pardon. As Sesto is admitted, Vitellia
rushes in and confesses her involvement,
fueled by her rage at being twice passed
over for candidacy as empress. Tito an-
nounces his desire to forgive and forget,
and all rejoice their noble emperor’s
clemency.
Annio
Vitellia
Sesto
Servilia
Tito
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Child wonder, virtuoso performer and
prolific creative artist, Mozart is the
first composer whose operas have never
been out of repertory. His prodi-
gious talents were apparent very
early in his life; by the age of four he
could reproduce on the keyboard a
melody played to him, at five he
could play the violin with perfect in-
tonation and at six he composed his
first minuet.
A musician himself, Wolfgang’s
father, Leopold, immediately saw the
potential of his son’s talents. 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 English king George
iii, to those of the lesser principali-
ties 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 Ger-
man musician in a market dominated
by Italian composers. Although many of
his early operas were commissioned by
Milanese and Munich nobles (Mitridate,Ascanio in Alba, Lucio Silla, La finta giar-diniera), he could not rise beyond Konz-ertmeister of the Salzburg archbishopric.
When the new prince archbishop,
Count Hieronymus Colloredo, was ap-
pointed 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 ingenuity.
Things came to a head in 1781 im-
mediately after the successful premiere
of Mozart’s first mature work, Idomeneo,in Munich. The archbishop, then visit-
ing Vienna, insisted the composer join
him there. Never did Mozart better un-
derstand his position in the household
than during that sejour, when he was
seated at the dinner table below the
prince’s personal valets and just above
the cooks. He requested to be perma-
nently discharged from his duties, and
after several heated discussions his peti-
tion was granted, punctuated by a part-
ing 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 sweet-
heart Aloysia, and premiered a new
work, Die Entführung aus dem Serail (TheAbduction 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 posi-
tion at the Imperial court. A small com-
mission came his way from Joseph ii for
a one-act comedy, Der Schauspieldirektor(The Impresario), given in the same
evening as Antonio Salieri’s Prima lamusica e poi le parole (First the music, thenthe 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 acclaim, but
its Vienna premiere in 1788 was
coolly received. By this time, Mozart
had received a minor Imperial post-
ing, Kammermusicus, which required
him to write dances for state func-
tions. The position was hardly wor-
thy 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 premiered January 26, 1790.
The emperor was too ill to attend
the opening and died the following
month. His brother, Leopold ii, as-sumed leadership, and Mozart hoped
to be appointed Kapellmeister – in-
stead he merely received a continu-
ance 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 impre-
sario Emanuel Schikaneder, suggested
he try his luck with the suburban audi-
ences at his Theater auf der Wieden.
Composition of The Magic Flute began
that summer but had to be halted when
two generous commissions came his
way: a requiem for an anonymous pa-
tron (who hoped to pass it o∂ as his own
composition), and an opera seria to cele-
brate the new emperor’s coronation as
King of Bohemia. La clemenza di Titopremiered September 6, and The MagicFlute was completed in time to open
September 30. The Requiem, however,
remained unfinished, 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
impoverished widow, then buried in a
mass grave on the outskirts of Vienna.
Wolfgang Amadeus Mozartb Salzburg, January 27, 1756; d Vienna, December 5, 1791
Portrait of Mozart by Joseph Lange (1751-1831)
Scala / Art Resource, NY
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Pietro Metastasio and the Tradition of Opera Seria
The words Pietro Metastasio and
opera seria are virtually synony-
mous, as for most of the 18th century,
his 28 libretti held sway in the realm
o f s e r i ou s I ta l i an ope r a . L ik e
Gioachino Rossini’s music a century
later, Metastasio’s famed literary style
and operatic formula became text-
book, subduing the threat of any seri-
ous competition to mere imitation.
His position remained unchallenged
for 50 years.
Born Antonio Trapassi to an
impoverished family in Rome, the
young Metastasio had the good
fortune to attract the attention of
Gian Vincenzo Gravina, a wealthy
jurist and man of letters. Gravina
was impressed with the boy’s
knack for verse and improvisation
and he o∂ered to adopt the boy
and further his education. Under
his tutor’s wing, Metastasio’s life
was transformed, indicated quite
literally by the change in name
Gravina orchestrated on his be-
half, Metastasio being derived
from the Greek word metastasis, a
transition or change.
When Gravina died in 1718,
Metastasio came into a small for-
tune, which he quickly squan-
dered. He also inherited his
adoptive father’s place in the Ar-
cadian Academy. Founded in
1690, the Academy (among its
other intentions) sought to bring
some order to the somewhat uncon-
trolled legacy of baroque opera. Opera,
during the first century of its existence
had become extravagant. Spectacle was
the name of the game with newly im-
proved stage machinery and special
e∂ects intended to produce the ulti-
mate theatrical experience, aptly de-
scribed in France as le merveilleux, or
“the marvelous.” Plotting was a sub-
sidiary concern; consequently the op-
eras had a plethora of characters,
incongruous situations, with comic
and tragic episodes intertwined and
use of superfluous language. Baroque
opera relished its unique status as
being all the arts rolled into one, yet
the Arcadians felt that there was virtue
to be taught as well – a higher moral
purpose could be achieved with the
display of devotion to duty and loyalty
to the rational side of the human
mind. Aristotelian principles of unity
in time, place and action, supported
by the precept of drama’s purpose
both to delight and to instruct, guided
them in seeking an art form that de-
livered a didactic message. Librettists,
such as Apostolo Zeno (1668 – 1750),
elevated the quality of the libretto,
significantly downsizing the cast list
and streamlining the plot into an or-
derly sequence of events. Emotions
were restrained, comedy was entirely
eradicated and language became ele-
gant and aristocratic.
Zeno had been poeta cesareo to the
Hapsburg court in Vienna since 1718,
and Metastasio succeeded him in
1729. There Metastasio did his best
work, first collaborating with vice-
kapellmeister Antonio Caldara (1670-
1736) and standardizing the art form
of opera seria. The librettist was a
master of stagecraft and an economical
writer of exquisite verse. A Metas-
tasian libretto had three acts each with
up to 12 scenes defined by the en-
trances and exits of between five and
eight characters. The story line was
typically derived from ancient history,
with the French classical theater of
Pierre Corneille and Jean Racine serv-
ing as a guide. The opera was laid out
as a sequence of arias, mostly of the da
capo variety, itself evolved from the
poetic refrain – musical material is in-
troduced, contrasted, then reintro-
duced and embellished. Duets
occasionally may be employed,
but larger ensembles typically
were not, and the chorus was re-
served for the triumphal scenes
and big act finales. Recitative
filled the gaps, usually set to
simple continuo, with orchestral
accompaniment reserved for the
two to three truly serious mo-
ments of the piece. Protagonists
faced emotional ly charged
conflicts involving public good
versus private interest, and the
drama is propelled forward by
intrigue and deceit, contrasted
by a subsidiary plot involving
two lovers. The ending is in-
evitably a happy one, even if it
betrays the original source (an-
other t ra i t inher i ted f rom
French theater, where all the un-
pleasantness took place o∂stage).
Metastasio’s libretti stood as
literary works apart from the
music and could be played as
spoken drama. This could explain
their extreme popularity during the
18th century – audiences seemed to
enjoy seeing them time and time
again as long as the musical accompa-
niment had changed. This a∂orded the
rise of several composers, namely Jo-
hann Hasse (1699 – 1783), Niccolò
Jommelli (1714 – 1774), and Tom-
maso Traetta (1727 – 1779), obscure
names today, but then quite popular
thanks to Metastasio. His universal
popularity extended across Europe –
George Frideric Handel used several
Metastasio libretti for his London op-
eras, as did Johann Christian Bach,
Giuseppe Sarti, Domenico Cimarosa
Arch of Titus, 1871; George Peter Alexander Healy, Frederic Church, and Jervis McEntee.
The
New
ark
Mus
eum
/ A
rt R
esou
rce,
NY
b Rome, January 3, 1698; d Vienna, April 12, 1782
Opera Seria continues on page 20
15• l
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oA Conversation with Susanne Mentzer
by Stephanie Wendt
What was your reaction when you wereasked to take on the role of Sesto?I’ve been in this opera three times
singing the smaller role of Annio. I sang
the role of Sesto at the Lyric Opera of
Chicago, and then I never had another
o∂er to do it. I think it’s because this
opera is not often done. When this pos-
sibility came up, I thought, boy, that’s
one role I really want to do again.
What is appealing about the role?Vocally it’s one of the more challenging
and enjoyable roles to sing. I do a lot of
Mozart, like the role of Cherubino,
which is great, but it’s comic and cute. I
really love the dramatic “trouser” roles
of Mozart. I jump whenever I get a
chance to do them.
How do you approach singing and acting therole of a young man?The singing is no di∂erent from what I
do in the role of a woman. Physically,
the trouser roles are usually more active.
It sounds rather odd, but I find this very
freeing; you don’t have to worry about
posing as much as just being. I don’t do
roles like Carmen or Delilah because
they’re too low for me, so a lot of the fe-
male roles left for me as a mezzo are not
as emotionally satisfying as trouser roles.
Do you gesture di∂erently when you play ayoung man?It’s really a mindset more than any-
thing. A lot of these operas were written
in the 1700s and 1800s. The men had
an elegance about them; if you were to
see them today you might think them a
little e∂eminate because of their wigs
and clothes. I can get away with it be-
cause I can give a bit of that e∂eminate
quality, but I can also just be a tomboy.
Why do you think composers wrote youngmen’s roles for women’s voices?It’s a mix of things. Some of Mozart’s
trouser roles were originally sung by
countertenors and some weren’t. Now
we’re in an age when we’ve got a lot of
countertenors but there was a time
when we didn’t. A lot of the Handel
roles were for castrati, who, thank God,
don’t exist anymore. I think the inno-
cence of a woman’s voice works well for
trouser roles – these are young men, all
20 and under.
You sing such a wide variety of genres —from recitals to opera to chamber music, fromMozart to Berg. How are those di∂erencesreflected in the way you use your voice?For years, all I did was opera, partly be-
cause I was only comfortable being a
character. I wasn’t comfortable being
myself. In my late 30s I really got inter-
ested in recital work, and found it free-
ing in a few di∂erent ways. I was
collaborating with one pianist or a few
chamber musicians and that was it. Wewould decide what we wanted to do
with the music. In opera, it’s necessary
to have a lot of cooks. You’ve got the
conductor and the director and the set
designer and the costume designer and
sometimes the choreographer. Every-
body wants to explain their point of
view, and then you have to take all of
those things and add a little bit of your-
self. That’s the nature of opera.
The other di∂erence between opera and
recitals is sound. The amount of sound
you have to put out in an opera is a lot
bigger – there’s an orchestra and usually
the halls are larger. You tend to need
more days o∂ between opera perfor-
mances. It’s like revving up for a
marathon. I rarely do recitals within two
weeks of an opera because I find the ad-
justment extremely di∑cult – to get my
voice “calmed down.”
You’ve worked with so many illustrious mu-sicians. Who stands out as an inspiration?I led a very charmed life early in my ca-
reer. I’d be working with people who
were 10 to 20 years older than me,
which was incredibly intimidating.
Deep down I didn’t know what I
needed to know, but you can’t let that
on when you’re hired for a job. You
learn very fast to be quiet and observe. I
got to work with Joan Sutherland very
early. She’s a fabulous person and amaz-
ing to work with. She is incredibly
calm. There were no histrionics. Her en-
ergy went into her sound. I also did a
very small role in another opera – actu-
ally Bruce Ford [Tito] was in this opera
too; we each had maybe three lines.
Marilyn Horne and Federica von Stade
were two of the other singers! I remem-
ber going to the first rehearsal – I think
I was 22 or 23 – and when they opened
their mouths it just sounded so easy,
like velvet! That was a great lesson. To
me it didn’t feel easy.
Is your voice still changing?Oh, yeah. Women’s voices change
throughout life because of our hor-
mones. My voice was kind of high and
thin until I had my son when I was 31.
Suddenly it was as if I had a di∂erent in-
strument. It was rich and dark. I’m not
there yet, but when women reach
menopause, their voices can get a little
wobbly or not as free. The aging of the
voice is more obvious in women than in
men.
Right now I’m probably the happiest
I’ve been with my voice. I used to sing
almost 11 months a year. I don’t do that
anymore. I have a 13-year-old son, so I
want to be home more, and I teach now.
I like the balance of teaching and per-
forming. I just sing the engagements I
really want to sing. I think that helps
my voice.
What do you do on a regular basis to main-tain your technique?It’s terrible to say, but I’ve never been a
Conversation continues on page 19
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The Artists For more biographical information about these artists, visit our website at www.mnopera.org
Brenda HarrisVitellia
Minnesota Opera DebutArmida, 1993
RecentlyLa clemenza di Tito, Metropolitan OperaOtello; Così fan tutte, Atlanta OperaNorma, Opéra de QuébecSemiramide; La traviata; others, The Minnesota Opera
UpcomingAgrippina, New York City OperaVanessa, Opéra National du Rhin (Strasbourg)
Lori-Kaye Miller Annio
Minnesota Opera DebutMacbeth, 2000
RecentlyLe nozze di Figaro, El Paso OperaIl re pastore, Lake George Opera FestivalDie tote Stadt, New York City OperaLe nozze di Figaro; 2000 Resident Artist, The Minnesota OperaCarmen; Madame Butterfly; The Magic Flute; Kismet;
Roméo et Juliette; Così fan tutte; others, Tri-Cities Opera
UpcomingAdriana Lecouvreur, Opera Orchestra of New York
Bruce FordTito
Minnesota Opera DebutThe Abduction of Figaro, 1984
RecentlyThe Barber of Seville, Opéra de Monte Carlo
Tancredi, Teatro Malibran (Venice)Armida, Edinburgh Festival
UpcomingThe Barber of Seville, Opéra National de Paris (Bastille)
Don Giovanni, Glyndebourne FestivalLa clemenza di Tito, Royal Opera House – Covent Garden
Ermione, Dallas Opera
Susanne MentzerSesto
Minnesota Opera DebutRecently
Ariadne auf Naxos; Pelléas et Mélisande; Der Rosenkavalier;Les contes d’Ho∂mann; others, Metropolitan Opera
Idomeneo, Sächsische Staatsoper (Dresden)Les nuits d’été (Berlioz), Orchestre de Paris
Un giorno di regno, Royal Opera House – Covent GardenI Capuleti e i Montecchi, Los Angeles Opera
UpcomingFalsta∂, Metropolitan Opera
Les contes d’Ho∂mann, Opéra National de Paris
Ana RodriguezServilia
Minnesota Opera Resident ArtistRecently
Gianni Schicchi; Carmen; Le nozze di Figaro; L’enfant et les sortilèges, Orlando Opera Company
La bohème, Opera North (New Hampshire)Cinderella; Toy Shop, Cincinnati Opera E & O
Cherubin, IVAI (Tel Aviv)L’elisir d’amore, Cincinnati College Conservatory of Music
Amore e guerra, Opera Theater of Lucca (Italy)
UpcomingLa bohème; Little Women; Don Carlos, The Minnesota Opera
Alfred WalkerPublio
Minnesota Opera DebutRecentlyDon Giovanni, Opera North (New Hampshire)Salome, Tanglewood Music FestivalMadame Butterfly; Lady Macbeth of Mtsensk;
Pelléas et Mélisande; others, Metropolitan OperaThe Rake’s Progress; The Magic Flute, Wolf Trap Opera
UpcomingIl trovatore, Tulsa OperaLakmé, Opera OntarioBéatrice et Bénédict, New York Philharmonic
Harry BicketConductor
Minnesota Opera DebutRecently
Agrippina, Glimmerglass OperaGiulio Cesare, Teatro del Liceu (Barcelona); L. A. Opera
Rinaldo, New York City Opera; Bayerische StaatsoperLa clemenza di Tito, Edinburgh Festival; New York City Opera
Le nozze di Figaro, Glyndebourne Festival
UpcomingLa clemenza di Tito, Welsh National Opera
L’incoronazione di Poppea, New Israeli Opera (Tel Aviv)Ariodante, Bayerische Staatsoper (Munich)
Benoît DugardynSet Designer
Minnesota Opera DebutRecentlyDal male il bene, Innsbruck FestwochenCavalleria rusticana/Pagliacci, Théâtre de la Monnaie (Brussels)Lady Macbeth of Mtsensk, Teatro del Liceu (Barcelona)Salome, Stadttheater Bühnen (Nürnburg)Il trovatore, L. A. Opera; Washington Opera; GöteborgsOperan
UpcomingDer Ring des Nibelungen, Stadttheater Bühnen (Nürnburg)Die Fledermaus, Glyndebourne FestivalLa clemenza di Tito, Royal Opera House – Covent Garden
Stephen LawlessStage Director
Minnesota Opera DebutRecently
Griselda, Staatsoper (Berlin)The Flying Dutchman, New York City Opera
Salome, Stadttheater Bühnen (Nürnburg)Don Pasquale, Los Angeles Opera
Il trovatore, GöteborgsOperan
UpcomingDer Ring des Nibelungen, Stadttheater Bühnen (Nürnburg)
Die Fledermaus, Glyndebourne FestivalLa clemenza di Tito, Royal Opera House – Covent Garden
Joan Sullivan-GentheLighting Designer
Minnesota Opera DebutRecentlyMadame Butterfly; Così fan tutte; Le nozze di Figaro;
The Consul; Le Cid; Tristan und Isolde; Giulio Cesare; Tosca; others, Washington Opera
Il trovatore, GöteborgsOperan (Sweden)Die Meistersinger von Nürnberg; Aida; others, Seattle OperaDialogues des Carmélites, Le Grand Théâtre de GenèveThe Rake’s Progress, New York City Opera
UpcomingSalome; Pique Dome; Tour to Japan, Washington Opera
Tom WatsonWig Master and Makeup
Minnesota Opera DebutThe Pearl Fishers, 1986
RecentlyOpera Theatre of St. Louis (season)
Santa Fe Opera (season)The Minnesota Opera (1986-2001 seasons)
Metropolitan Opera (season)Jane Eyre; Dirty Blonde, (Broadway)
UpcomingLa bohème; Little Women; Don Carlos,
The Minnesota Opera
Sue WillmingtonCostume Designer
Minnesota Opera DebutRecentlyDie Schweigsame Frau; Don Carlos, Zurich OperaShowtime at the Stadium; Love in a Wood; The Duchess of Malfi;
Don Carlos; The White Devil; Richard II; Measure for Measure; The Merchant of Venice, Royal Shakespeare Co.
Capriccio, Teatro Regio (Turin)Genoveva, Prague State Opera; Opera North (England)Eugene Onegin, Opera North (England)Il seraglio, Opéra National du Rhin (Strasbourg)Nabucco; Fidelio, Bregenz Festival
19• l
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person who practiced. I spend time
learning music, which is di∂erent. To
get it into my voice, I’ll use the re-
hearsal period; that’s what the rehearsal
is for. You have to see what your col-
leagues are doing. It’s very much a reac-
tive art form.
What musical and career advice do you giveyour students?I do tell them that most people are born
with their instruments. You can’t really
teach someone to have an operatic
sound. I teach them how to lose the bad
habits. I teach them to get in touch
with what they’re doing physically –
every little movement in their throat
and nose and head – so when they’re o∂
on their own they can self diagnose. I’m
not too hard on them about interpreta-
tion. I want them to figure it out, un-
derstanding that every time they sing a
role it might mean something di∂erent.
Your artistry changes as you get older
and have life experiences.
What do you tell students about the career itself?There was a point about 10 years ago
when I thought I could never teach be-
cause I was too burned out by the toll
singing took on my life. I’ve been di-
vorced and it’s hard to raise a child as
single mom. The father is in the picture,
but there’s a lot of heartbreak. You have
to live a lot of time away from people
you love, so it’s hard to tell impression-
able young singers, “Go ahead and do
this.” But then again I don’t want them
to think they have to have a cloistered
existence to be a singer. It’s not like that
anymore. It’s possible to sing and be a
parent, and I think parenthood enhances
your art.
How do you restore yourself?Not enough. I was doing yoga, and that
helped me a lot. What rejuvenates me
most is having time o∂, especially when
I have two or three weeks at home in
one block. The other thing is teaching
at Aspen. This will be my third sum-
mer. It’s beautiful. Clean air, lots of ex-
ercise, being able to sing chamber music
without critics around, wearing jeans
and a t-shirt. You work with great stu-
dents. Your colleagues are all at the top
of their fields. It’s a fairyland out there.
Conversation continued from page 15
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Opera Broadcasts
and Franz Joseph Haydn. The libretti
also served the political interests of the
reigning monarch – there was rarely a
story line that didn’t feature a benevo-
lent ruler faced with di∑cult issues
who eventually triumphs. The Haps-
burgs used them with great frequency
for celebrating birthdays, namedays,
weddings and other festive occasions.
By mid-century, however, the
winds of change were in the air. After
1744 Metastasio only produced eight
new libretti, as the Hapsburg monar-
chy was plagued by financial di∑culties
and wars with Prussia, and Metastasian
personages lacked contemporary rele-
vance. The rising vogue for comic opera
was evidenced by Joseph ii’s prefer-
ences, made clear as early as 1764, and
his unwillingness to pay the high fees
demanded by opera seria singers. New
reforms were again taking place –
Christoph Willibald Gluck (1714 –
1787) and his librettist Ranieri de’
Calzabigi (1714 – 1795) broke the
Metastasian mold by cutting the ex-
cesses that it had spawned, namely the
bastardization of the aria, as dictated by
the reigning doyens of the 18th century,
the castrati. Embellishments were care-
fully notated and new aria forms were
explored, namely the two part slow-fast
option, as well as other practices bor-
rowed from serious opera’s comic
cousin, opera bu∂a. By restoring a more
even balance between music and poetry,
as was prescribed by the Florentine
Camerata and ultimately the ancient
Greeks, Gluck achieved greater dra-
matic truth and declamation, which led
to more natural characterizations as op-
posed to the seemingly stilted ones of
Metastasio. The orchestra was given
greater attention through use of orches-
tral color and the elevated status of the
overture, now emotionally and themati-
cally linked to the rest of the drama.
Mythological themes, banished by Ar-
cadian thinking as being unnatural and
unwieldy, made a return as part of a
general renewed interest in classical
themes, generated by the recently exca-
vated ruins of Pompeii and a treatise is-
sued by Johann Winkelmann, History ofAncient Art (1764).
These were the surroundings in
which Mozart found himself when he
began composing operas in the 1770s.
The immensity of the genre did not
scare the dauntless teen as he tackled
Mitridate, re di Ponto, a Metastasian sto-
ryline based on a play by Racine. Two
years later he set an existing libretto by
Metastasio, Il sogno di Scipione (1772),
quickly followed by another Metas-
tasian-inspired work, Lucio Silla (1772),
and later yet another Metastasio li-
bretto, Il re pastore (1775). Though
these works are generally discounted as
experimental, youthful works, they re-
veal much about Mozart’s approach to
opera seria. His work to date would
have significant bearing on his next
great serious opera, Idomeneo, re di Creta(1781), another derivative of French
classical theater. His librettist, Gio-
vanni Battista Varesco, still used Metas-
tasio as a model, but Mozart would
utilize some of the reforms inspired by
Gluck, notably the greater use of en-
semble and chorus. These were the
seeds of the more flexible approach to
opera seria he would employ as he com-
posed La clemenza di Tito 10 years later.
Elasticity was the lifeline of opera
seria, and even though Metastasio
died the following year, his libretti,
albeit with adaptation, continued to
be set into the early 19th century. By
that point opera seria existed in name
only and had morphed into some-
thing truly di∂erent in the nimble
hands of Rossini during his years in
Naples. What lay in that wake was
the still-evolving Romantic melo-
drama, brought to fruition in the care
of later Bel Canto composers Vincenzo
Bel l ini , Gaetano Donizett i and
Giuseppe Verdi.
Opera Seria continued from page 14
The Minnesota Opera’s 2001-2002 sea-
son opera broadcasts on NPR-a∑liate
Minnesota Public Radio (KSJN 99.5
FM in the Twin Cities) have been
scheduled in a special five-week festival
broadcast from May 19-June 16, 2002.
As broadcast details are available, they
will be posted on the Opera’s web site,
www.mnopera.org/broadcasts.htm
Anonymous (3)Mr. Rolf AndreassenMary AndresKaren BachmanPatricia and Mark BauerMr.* and Mrs. Judson Bemis, Sr.Judy and Kenneth DaytonDr. Paul FroeschlNettie A. Grabscheild*Robert A. GreenNorton M. Hintz TrustCharles HudginsMr. and Mrs. Dale JohnsonCharlotte KarlenMr. and Mrs. Steve KellerGretchen Klein*Jerry and Joyce LillquistMargaret and Walter MeyersScott PakudaitisSydney M. and William S. PhillipsDr. Marian R. RubenfeldMary SavinaFrank and Lynda SharbroughRobert and Barbara StruykMary W.VaughanDale and Sandra Wick
* deceased
Kevin Smith celebrates 20 years with The Minnesota Opera by welcoming the inaugural members ofhis President’s Circle. This plannedgiving program of The MinnesotaOpera will keep the Opera thrivingfor future generations.
If your name has been accidentally omitted,or for more information about joining The President’s Circle, please call Bill Venne,Development Director, at 612-342-9565.
The Minnesota Opera announces
The President’s Circle
21• l
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oThe Minnesota Opera Chorus
ChorusCarlos Archuleta*
Terry BeaudryMatt Boehler*Bryan BoyceAnna BrandsoyMichael CainJulie CarpenterGenevieve ChristiansonMadeleine CieslakSteve DahlbergWood FosterPaul GriggsbyApril HansonKate HaugenRobin HeggenKathryn JensenGeorgette JohnsonNaomi KarstadRyan Kinsella*
Elizabeth LonghurstMike LundinBryan MausEric Mellum Mary Monson Justin MontigueDawn Pierce
James PlanteJill Sandager Steve SandbergBob SchmidtSandra SchoeneckerAnne B. StorlieJames Valenti*Karen WeaverDavid WellerKarin Wolverton
SupernumerariesCorey AndersonBen BlairJoseph BottenMario Diaz-Moresco**
Robert ElliottAndy FlammPhil GreenbergDaniel GreggDan GriderJoseph JohnsonMichael KelleherSteve LewisPatrick Lopez de VictoriaSteve MosowDavid RossMark Rossman
Paul SabbyErik StoneNorm TiedemannDavid TouchstonePeasant ChildrenPatrick Bromelkamp‡
Matthew Dickinson‡
Nicholas EarlGrace Forceia‡
Rosalie Graber‡
Grace Quiring‡
Eleanor Quiring‡
PagesAndy Eggum‡
Charlotte Zelle
Resident Artistscovering principal rolesMatt Boehler (Publio)James Valenti (Tito)
*denotes Minnesota Opera
Resident Artist
**appears with The Minnesota Opera
in conjunction with MacPhail Center
for the Arts’s Prelude Program for
talented young adults.‡students of New Breath Productions
ViolinsSteven Copes, concertmaster
John M. and Elizabeth W. Musser ChairKyu-Young Kim, associate
concertmasterJohn H. and Elizabeth B. Myers Chair
Leslie Shank, assistant concertmasterHulings Chair
Elsa Nilsson John KennedyBrenda Manuel MickensNathan Cole, principal second
violinThomas Kornacker,
co-principal second violinCarolyn Gunkler, assistant
principal second violinMichal SobieskiDaria T. AdamsFrieda Tso-Ning Fan
ViolasSabina Thatcher, principalEvelina Chao, assistant principalTamas Strasser, co-principalAlice Preves
CellosPeter Howard, principal
Bill and Hella Mears Hueg ChairJoshua Koestenbaum, associate
principalRuth and John Huss Chair
Sarah LewisDaryl Skobba
BassesChristopher Brown, principalFred Bretschger, assistant
principal
FlutesJulia Bogorad-Kogan, principalAlicia McQuerrey*
OboesKathryn Greenbank, principal†Andrea Banke, guest principalThomas Tempel
ClarinetsTimothy Paradise, principal
Philip H. and Katherine Nason ChairMarlene Pauley*
BassoonsCharles Ullery, principalCarole Mason Smith
HornsHerbert Winslow, principalPaul Straka
TrumpetsGary Bordner, principalLynn Erickson*
Harpsichord & PianoLayton James, principal
Timpani & PercussionEarl Yowell, principal
Extra Musicians:Coreen Nordling, bassoon
* regular additional musicians† on leave for the 2001-2002 season
THE SAINT PAUL CHAMBER ORCHESTRA ROSTER2001 • 2002
Andreas Delfs, Music DirectorNicholas McGegan, Baroque Series Director
Chair of the Board President and Managing DirectorLowell J. Noteboom Bruce Coppock
Proceeds help supportCourage Programs
and you can receivea tax deduction
based on fair market value.
763-520-0540www.courage.org
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StaffPresident & CEO . . . . . . . . . . . . . . . . . . . . . Kevin SmithArtistic Director . . . . . . . . . . . . . . . . . . . . . Dale JohnsonGeneral Manager . . . . . . . . . . . . . . . . . . . John Humleker
ArtisticArtistic Administrator . . . . . . . . . . . . . . Roxanne Stou∂er CruzArtistic Associate . . . . . . . . . . . . . . . . . . . . . . . Floyd AndersonEducation Coordinator . . . . . . . . . . . . . . . . . . . Holly CarpenterDramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David SanderProduction Stage Manager . . . . . . . . . . . . . . . Alexander FarinoStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . Yasmine KissAssistant Stage Manager . . . . . . . . . . . . . . . . . . .Lee HendersonResident Artist Music Director . . . . . . . . . . . . . . .Bruce StasynaChorusmaster/Head Coach . . . . . . . . . . . . . . . . . Joseph Lawson
Resident Artist Instructors . . . . . . . . . . .Carlotta Dradi, Barbara Kierig,
Peter Rothstein, Doug Scholz-Carlson, Nancy Tibbetts
Resident Artists . . Carlos Archuleta, Matthew Boehler, Je∂rey Domoto,
Ryan Kinsella, Laura Loewen, Ana Rodriguez, James Valenti
Education Personnel . . . . . . . . . . . . . . . Raymond Berg, Peggy Endres,
Kenny Kiser, Janet Paone, Je∂ Richman, Joseph Schlefke,
Elise Skophammer, Roger Skophammer,
Casey Stangl, Ed Williams, Joan Womeldorf
Stage Management Intern . . . . . . . . . . . . . . . . . . . . . . . .Julia Carlis
Mentor Connection . . . . . . . . . . . . . . . . . . . . . . . . . .Megan Furman
CostumesCostume Director . . . . . . . . . . . . . . . . . . . . . . . . Gail BakkomAssistant Costume Director . . . . . . . . . . . . . . . . . Beth SandersDrapers . . . . . . . . . . . . Chris Bur, Angela Patten, Yancey ThriftFirst Hands . . . . . . Helen Ammann, Mark Heiden, Valerie HillWig/Makeup Assistants . . . . . . . . . . . . Jason Allen, Jodi Heath,
Emily Rosenmeier
Stitchers . . . . . . . . . . . . . . .Jennifer Dawson, Stephanie Molstad, Stephanie Vogel, Deborah Zawada
SceneryScenic and Lighting Director . . . . . . . . . . . . . . . . . . Tom MaysTechnical Director . . . . . . . . . . . . . . . . . . . . . . . . Stuart SchatzScenic Administrator . . . . . . . . . . . . . . . . . . . . Holly CarpenterAssistant Lighting Designer . . . . . . . . . . . . . . .Nicole SimoneauProperties Master . . . . . . . . . . . . . . . . Stanley Dean HawthorneProperties Assistant . . . . . . . . . . . . . . . . . . . . . . . . . Mike LongCharge Painter . . . . . . . . . . . . . . . . . . . . . . . . . . Michael BolinScenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra JensenProduction Carpenter . . . . . . . . . . . . . . . . . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . . . . . . . . . . . . . . . . . . Rod AirdCarpenters . . . . . . . . . . . . . . . . . . . . . . Patrick Dzieweczynski,
Mike McQuiston, Steve Rovie
AdministrationController . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Je∂ CoutureOperations/Systems Manager . . . . . . . . . . . . . Steve MittelholtzAccounting Associate . . . . . . . . . . . . . . . . . . . . . Jennifer ThillEvents/Volunteer Coordinator . . . . . . . . . . . . . . . . Sarah Curtis
DevelopmentDevelopment Director . . . . . . . . . . . . . . . . . . . . . . . Bill VenneInstitutional Gifts Manager . . . . . . . . . . . . . . . . . . Jaime MeyerExecutive/Development Assistant . . . . . . . . . . . Theresa Murray
Marketing/CommunicationsMarketing and Communications Director . . . Glyn NorthingtonCommunications Manager . . . . . . . . . . . . . . . . . . . Lani WillisTicket O∑ce Manager . . . . . . . . . . . . . . . . . . . . . . Jason YoungReceptionist/Information Specialist . . . . . . . . . . . . . Malia Long
A Fairy Tale Ballet for ChildrenbyWilor Bluege
February 15-17, 2002
Tickets: 612-673-0404, www.ticketmaster.com or
visit The O’Shaughnessy box office.
A tale ofcompassion
and hope.
www.stanthonydance.org
MINNESOTANS UNDERSTAND
THE VALUE THE ARTS
BRING TO ITS COMMUNITY.
For information on our array of wealth management services, please call 612-338-7881 or visit www.ustrust.com.
U.S. Trust proudly supports The Minnesota Opera — a Minnesota tradition.
Minneapolis: 612-338-7881 St. Paul: 651-298-1441
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Coming Up:
The Minnesota Opera revives its own 1996 production La bohème
this March, set in the 1840s Latin Quarter of Paris. Mimì,
Rodolfo and their spirited Bohemian friends learn life’s
most important lessons in Puccini’s sweetest love story,
the tale that inspired the Broadway musical Rent and the
world of Hollywood’s Moulin Rouge.
“There’s no mystery why La bohème returns to opera
stages around the world,” said Artistic Director Dale
Johnson. “Puccini captures the love and ardor of
youth and reminds us all of the first time we
fell in love. This is a perfect opera —
there’s not a wasted note.”
March 2, 3, 5, 6, 7, 8, 9, 10at Ordway Center
Call 651.224.4222 for tickets
Adult Education ClassA class devoted to La bohème will be held on Monday,
February 11, 2002, from 7:00-9:00 p.m. at The Minnesota
Opera Center, 620 North First Street in the Minneapolis
Warehouse District. Call 612-342-9575 for registration
information.
Opera InsightsOne hour prior to each performance, join Artistic Director
Dale Johnson and/or other members of the artistic sta∂
and the Resident Artists for a 30-minute introduction to
the work. Opera Insights are free and held in Ordway Cen-
ter’s mezzanine lobby.
To learn more about La bohème ...
Please visit our web site at www.mnopera.org or consider the opportunites listed below. On the web site you will find
casting updates, artist biographies, synopses, background notes, suggestions for further reading and listening, ticketing
services and other company information.
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The Minnesota Opera Fund
Individual Donors: The Camerata CircleThe Camerata Circle is The Minnesota Opera’s highest category of personal support. With this designation,
we recognize these very special friends for their commitment to the tradition of opera in our community.
Platinum Mrs. Judson Bemis, Sr.Mary and Gus BlanchardJudy and Kenneth DaytonDolly J. FitermanJohn and Ruth HussHeinz and Sisi HutterThe Art and Martha Kaemmer Fund of
HRK FoundationConstance and Daniel KuninPatricia LundMr. and Mrs. Walter S. MeyersMrs. George T. PennockMary W. Vaughan
Gold AnonymousMary A. AndresAugust J. Aquila and Emily HaliziwKaren BachmanDavid Hanson and
William BiermaierMr. and Mrs. James BingerRod and Susan Boren Darlene J. and Richard P. Carroll Sally J. EconomonRolf and Nancy EnghN. Bud and Beverly Grossman
FoundationAlfred and Ingrid Lenz HarrisonLucy Rosenberry JonesBryce and Paula JohnsonMichael F. and Gretchen S. KellyWarren and Patty KellyEd and Pat KeransPeter J. KingThomas and Barbara McBurneyDiana and Joe Murphy
Mrs. John M. Musser†
Bruce and Sandra NelsonJose Peris and Diana GuldenRebecca Rand and
E. Thomas BingerConnie and Lew RemeleMr. and Mrs. Steven RothschildWalter B. SaundersFred and Gloria SewellVirginia L. and Edward C. StringerGregory C. SwinehartTanrydoon Fund of
The Saint Paul FoundationC. Angus and Margaret Wurtele
Silver Anonymous (2)John Andrus, IIIMartha and Bruce AtwaterPatricia and Mark BauerJoseph and Judy CarlsonWilliam Voedisch and
Laurie CarlsonRachelle Dockman ChaseBurt and Rusty CohenEllie and Tom Crosby, Jr.Rondi Erickson and Sandy LewisMr. and Mrs. John ForsytheConnie Fladeland and Steve FoxLeslie and Alain FréconJames FultonR. Thomas Greene, Jr.Stephen and Patricia HaynesRoger W. HollanderJay and Cynthia IhlenfeldGerald JohnsonStan and Jeanne KaginMrs. James S. KochirasMr. and Mrs. Ted Kolderie
Lynne LooneyLeland T. Lynch and Terry Saario Fund of
The Minneapolis FoundationRoy and Dorothy Ann MayeskeMary Bigelow McMillanRobb and Lynne MorinNelson Family Foundation on behalf of
Glen and Marilyn NelsonWilliam and Barbara PearceMarge and Dwight PetersonJodi and Todd PetersonLila and Bruce A. PriebeKim and John PuckettLois and John RogersE. Elaine and Roger SampsonFrank and Lynda SharbroughRenate M. SharpKevin and Lynn SmithMrs. Irene G. SteinerCharles Allen Ward Fund of
The Saint Paul Foundation
Bronze AnonymousChloe D. AckmanCordelia Anderson and
John HumlekerElizabeth AndrusMr. and Mrs. Edmund P. BabcockAlexandra O. BjorklundMr. and Mrs. Paul G. BoeningElwood F. and Florence A. CaldwellJoseph and Judy CarlsonDavid and Jane CooperDr. James E. and Gisela CorbettDr. Susan and Richard CrockettMrs. Thomas M. Crosby, Sr.Mary Lee and Wallace DaytonCy and Paula Decosse Fund of
The Minneapolis FoundationLori and Tom FoleyBradley A. Fuller and Elizabeth LincolnMr. and Mrs. R. James GesellIeva GrundmanisRosalie He∂elfinger Hall Fund of The
Minneapolis FoundationCli∂ton K. Hill and Jody RockwellDorothy J. Horns, M.D. and
James P. RichardsonElizabeth A. HueyJacqueline Nolte JonesLyndel and Blaine KingE. Robert and Margaret V. Kinney
Fund of The Minneapolis FoundationMr. and Mrs. William KlingBenjamin Y. H. and Helen C. LiuMr. and Mrs. Cargill MacMillan, Jr.David MacMillan and Judith Krow
James and Judith MellingerTom Murtha and Stephanie LenwaySusan OkieMr. and Mrs. William PhillipsNorm Rickeman and Kathy MurphyJohn RosseBurton G. Ross and
Cynthia Rosenblatt Ross Fund of The Minneapolis Foundation
Mr. and Mrs. John C. RowlandLucy and Mark SearlsStanislaw and Krystyna SkrowaczewskiJames and Susan SullivanMichael SymeonidesMr. and Mrs. George H. TesarCatie Tobin and Brian Naas
†deceased
Benefactors Anonymous Eric and Donna AanensonKim A. AndersonPaula A. AndersonAn Anonymous Gift from a DonorAdvised Fund of The Saint Paul Foundation
Dr. and Mrs. Thomas C. BagnoliAmy and Ford Watson Bell inhonor of Elinor W. Bell
John and Jennifer Bernstein Dr. and Mrs. Jim BurdineRalph and Kathleen CadmusJoann M. D. CierniakJe∂ and Barb Couture
John G. and Ida J. DaviesJudson and Elizabeth DaytonThe Denny Fund of The Minneapolis Foundation
Thomas and Mary Lou DetwilerMr. and Mrs. Steven A. DiedeMr. and Mrs. Carl B. Drake, Jr.Joyce and Hugh EdmondsonEster and John FeslerHenry and Anice FleshPatricia R. FreeburgLois and Larry GibsonMr. and Mrs. John F. GrundhoferDon and Arlene HelgesonCharlotte KarlenMr. and Mrs. Erwin KelenMaria Kochiras
Lisa C. KochirasHelen L. KuehnMr. and Mrs. Clinton LeeIlo and Margaret LeppikJerry and Joyce LillquistBill LongMrs. Malcolm S. MackayDan and Sue MalinaMargery MartinSamuel D. and Patricia McCullough
Mary McDiarmidJames P. McFarlandMrs. John H. MyersAlbin and Susan NelsonTimothy and Gayle OberAllegra Parker
Karen B. PaulFrances and George ReidKen and Nina RothchildMahlon and Karen SchneiderRalph S. Schneider and Margaret McNeil
Stephanie SimonHelen and Je∂ SlocumJulie Jackley SteinerDon and Leslie StilesDr. Joseph Tashjian and Kay SavikLois and Lance ThorkelsonBill Venne and Douglas KlineEllen and Fred WellsMr. and Mrs. F. T. Weyerhaeuser
The Minnesota Opera gratefully acknowledges the donors who have significantly increased their gifts in the last year. In the lists above these donors are recognized in bold print for their support.
These lists are current as of December 31, 2001, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since January 1, 2001. If your name is not listed appropriately, please accept our apologies, and call Bill Venne, Development Director of The Minnesota Opera, at 612-342-9565.
A SpecialThank You!
The Minnesota Opera would like to extend a special thank you to Ecolab, sponsor for the
2001 Opening Night Gala, and to all those who participated in and contributed to the
evening’s festivities. The gala was a huge success, thanks to all those who attended - both
attendance and funds raised reached record levels. Don’t miss next season’s Opening
Night Gala on Saturday, Nov. 9, 2002!
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Corporations and Foundations
Minnesota Opera Sponsors
Platinum3MAccentureAmerican Express Minnesota
Philanthropic Program on behalf ofAmerican Express Financial Advisorsand American Express Travel RelatedServices Co.
Andersen FoundationJames Ford Bell FoundationBlandin FoundationThe Bush FoundationThe Cargill FoundationDeloitte & ToucheDeluxe Corporation FoundationEcolab FoundationGeneral Mills FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable
FoundationHoneywell FoundationThe MAHADH Fund of HRK
FoundationThe McKnight FoundationMarshall Field’s Project ImagineThe Medtronic FoundationThe Andrew W. Mellon FoundationMinnesota MonthlyMinnesota State Arts BoardReliaStar Financial CorporationSkyway Publications, Inc.The St. Paul CompaniesTarget Stores, Marshall Field’s and
Mervyn’s with support from theTarget Foundation
TranstopTwin Cities Opera GuildU.S. BankWells Fargo Foundation on behalf of:
Wells Fargo Bank MinnesotaWells Fargo Brokerage ServicesWells Fargo Institutional
Investments Lowry HillWells Fargo Private Client
ServicesWest Group
GoldADC Telecommunications, Inc.Bemis Company FoundationDorsey & Whitney FoundationErnst & YoungR. C. Lilly FoundationLutheran Brotherhood FoundationMcGladrey & Pullen, LLPNational City BankAlice M. O’Brien FoundationPricewaterhouseCoopers LLPRahr FoundationRider, Bennett, Egan & ArundelRobins, Kaplan, Miller & CiresiSpencerStuartStar Tribune FoundationTarget StoresU.S. Bancorp Piper Ja∂ray Foundation
on behalf of U.S. Bancorp Piper Ja∂ray
Valspar FoundationXcel Energy Foundation
SilverThe Bayport FoundationBelford FoundationBest Buy Children’s FoundationBoss FoundationCurtis L. Carlson Family FoundationChadwick FoundationDellwood FoundationDigital Excellence Inc.Leonard, Street & DeinardJ & H Marsh & McLennanMalt-O-Meal CompanyMary Livingston Griggs and Mary
Griggs Burke FoundationMcNeely FoundationMoss & BarnettThe Nash FoundationThe Casey Albert T. O’Neil FoundationThe Carl and Eloise Pohlad Family
FoundationRBC Dain Rauscher FoundationMargaret Rivers FundSchwegman, Lundberg, Woessner &
Kluth, PASit Investment AssociatesTennant FoundationSchool Arts Fund of United
Arts/COMPASU.S. Trust CompanyWenger Foundation
Bronze Ceridian CorporationFaegre & BensonHogan & Hartson
Hutter Family FoundationMayo FoundationMcVay FoundationMinnesota Mutual FoundationLawrence M. and Elizabeth Ann
O’Shaughnessy Charitable IncomeTrust in honor of Lawrence M.O’Shaughnessy
The Jay and Rose Phillips FamilyFoundation
The Elizabeth C. Quinlan FoundationSt. Croix FoundationCharles B. Sweatt FoundationTilka DesignTozer FoundationWalcro Inc.
BenefactorsAlliance Capital ManagementElmer L. and Eleanor J. Andersen
FoundationAthwin FoundationAvedaBrock-White Co., LLCH.B. Fuller Company FoundationHorton, Inc.The Hubbard FoundationKPMG LLPMiller Meester AdvertisingMinnesota Trading Co.MSI Insurance FoundationMusicland Group, Inc.The Ritz FoundationThe Southways Foundation
Season SponsorU.S. Bancorp Piper Ja∂ray
Gala Dinner SponsorEcolab
Production SponsorsLucia di Lammermoor, U.S. Bancorp Piper Ja∂ray
La clemenza di Tito, American Express Minnesota
Philanthropic Program
La bohème, Marshall Field’s Project Imagine
Little Women, RBC Dain Rauchser
Camerata DinnersRider, Bennett, Egan & Arundel
Opera Insight LecturesSpencerStuart
The Minnesota Opera Fund