minnesota opera's maria padilla program
DESCRIPTION
2004-2005 SeasonTRANSCRIPT
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Contents
The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson
Chair, Board of Directors John A. Blanchard, III
The Minnesota Opera, 620 North First Street
Minneapolis, MN 55401 (612) 333-2700
www.mnopera.org
The Minnesota Opera
is a member of OPERA America.
This activity is made possible in part by a grant provided by the Minnesota State ArtsBoard through an appropriation by the Minnesota State Legislature. This project is
supported in part by a grant from the National Endowment for the Arts.
March 2005
The Minnesota Opera Programis published by Arts & Custom Publishing Co., Inc.
Corporate Administrator/Publisher Todd HydeAssoc. Publisher/Director of Production Marsha Kitchel
Senior Account Executives Liesl Hyde, Yvonne Christiansen Creative Designer Michael Gutierres
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
Bel Canto Artistic Philosophy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Maria Padilla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Artist Profile: Brenda Harris . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Gaetano Donizetti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Pedro “the Cruel” in History . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Coming Up At The Minnesota Opera . . . . . . . . . . . . . . . . . . . . . . . . 20
The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . . . 22
Carmen Preview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
The Minnesota Opera Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The Minnesota Opera 2005 – 2006 Season . . . . . . . . . . . . . . . . . . . . 28
Young Professionals Group Events . . . . . . . . . . . . . . . . . . . . . . . . . . 33
JAIMY GRAHAM
LA TI DA
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Minnesota Opera StaffPresident & CEO Kevin SmithArtistic Director Dale Johnson
Welcome to today’s production of MariaPadilla. For more than four decades TheMinnesota Opera has enriched the culturallife of our community by producingoutstanding and innovative operas thatinspire and entertain.
U.S. Bank is honored to sponsor the 2004– 2005 season. We are proud of our 20+year relationship with The Minnesota Operaand of our sponsorship at this great settingof the Ordway in St. Paul.
At U.S. Bank, we support great dreams,great art and great arts organizations. Theyenrich the community with vibrancy,creativity, and excellence. As the sixthlargest bank in America today, U.S. bank isthe only major bank headquartered inMinnesota, and we’re deeply committed togiving back in this community.
Thank you for coming and enjoy theperformance.
Jose A. Peris, Senior Vice President, RegionManager, U.S. Bank Private Client Group,and Minnesota Opera board member
ArtisticArtistic Administrator . .Roxanne Stou∂er CruzArtistic Associate . . . . . . Floyd AndersonCommunity Education Director . . . . . . . . .
Jamie AndrewsDramaturg . . . . . . . . . . . . . David SanderProduction Stage Manager . . . Alex FarinoAssistant Stage Managers . . .Kristen E. Burke,
Katie PreissnerHead of Music . . . . . . . . . . .Bruce StasynaResident Artists . . . . . . .Raymond Ayers,
Korey Barrett, Jonathan Carle, Theodore Chletsos, Anna Jablonski,
Seth Keeton, Karin Wolverton, Christopher Zemliauskas
RAP Faculty . . . . . . . . . . . .Nancy Boler, Carlotta Dradi-Bower, Matt Sciple
Teaching Artist . . . . . . . . . .Angie KeetonKIDS . . . . . . . . .Lloyd Clausen, Paul Cochran,
Mario Diaz-Moresco, Andrew Penning, Sara Sawyer
Children’s Chorusmaster . . . . . . . .Janice KimesArtistic Intern . . . . . . . . . . . . . . . . . .Matt Bluem
CostumesCostume Director . . . . . . . .Gail BakkomAssistant Costume Director . . .Beth SandersDrapers . . . . . . . . . . . . . . . . . . .Chris Bur,
Yancey Thrift, Angela YarbroughFirst Hands . . . . . . . . .Helen Ammann,
Valerie Hill, Stephanie VogelStitchers . . . . . . . .Rebecca Ballas, Jennifer Dawson,
Christine Richardson Painter . . . . . . . . . . . . . . . . . . . .Marliss JensenWig/Makeup Supervisor . . . . .Marilyn JordonWig/Makeup Assistants . . . Janet Dromgoole
Emily Rosenmeier, Ashley Ryan
SceneryProduction Administrator . . Holly CarpenterTechnical Director . . . . . . . . . . . Mike McQuistonAsst. Technical Director/
Lighting Coordinator . .Marc D. JohnsonProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongCharge Painter . . . . . . . . . . Debra JensenScenic Artist . . . . . . . . . . . .Michael BolinProduction Carpenter . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . . .Steve Rovie Carpenters . . . . . . . . . . Daniel Kimmerle,
Eva Pranis, Eric Veldey
AdministrationFinance Director . . . . . . . . . . Je∂ CoutureOperations/Systems
Manager . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . Jennifer ThillExecutive Assistant . . . . . Theresa MurrayReceptionist . . . . . . . . . . . . . . . . .Jill Pawelak
DevelopmentDevelopment Director . . .Patrick DewaneIndividual Gifts Director . . . . .Dawn LovenInstitutional Gifts Director . . Linda JohnsonInstitutional Gifts Associate/
Gala Coordinator . . . . . . .Kelly ClassenDevelopment Director Assistant . .Kelly Clemens
Marketing/CommunicationsMarketing Director . . . . . . . . . . .Carl LeeCommunications Director . . . Lani WillisTicket O∑ce Manager . . . . Andrea CorichMarketing & Communications Assistant/
Volunteer Coordinator . . . . . . .Reid Tuenge
Minnesota Opera VolunteersThe following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.
Harry Swepston
(Volunteer Chair)
Ann Albertson
Gerald Benson
Colleen Boyer
Jim Brownback*Sue Brownback
Jerry Cassidy
Joann Cierniak
Tricia Clarke
Susan Cogger
Caroline
Coopersmith
Lindsay Craig
Beverly Dailey*Jeanette Daun
Lee Drawert
Judith Duncan
Sally Economon
Hazel Francois
Jane Fuller
Joan Gacki*Christine A. Garner*Juhi Gupta-Gulati
Mark Gustin
Mary E. Hagen
Lucinda Hallet
John Harris*
Anne Hesselroth
Alisandra Johnson
Karen Johnson
Nancy Johnson
Steve Johnson
Jeannie Johnston
Robin Keck
Eleanore Kolar
Lucinda Lamont
Shirley Larson
Jerry Lillquist
Joyce Lillquist
Abby Marier
Margery Martin
Joan Masuck
Mary McDiarmid*
Beth McGuire
Verne Melberg
Irma Monson
Barbara Moore
Doug Myhra
Pam Nielsen
Dan Panshin
Pat Panshin
Liliana Payne
Megan Pelka
Sydney Phillips
Bill Phillips
Julia Porter
John Rosse
Florence Ruhland
John Sauer
Michael Silhavy
Wendy Silhavy
Angie Solomon
Wendi Sott
Dawn Stafki
Dave Terwilliger
Doris Unger
Carolyn Wahtera
Mary Weitz
Barbara Willis*
*Lead volunteer
CAFE LATTE4C
Welcome to our 2004-2005 bel canto
offering, Maria Padilla!
Bel canto (“beautiful singing”) is the
ideal upon which Italian opera is based as
well as the inspiration for this company’s
artistic philosophy. Bel canto values,
which emphasize intense emotional ex-
pression supported by exquisite tech-
nique, inform every aspect of The
Minnesota Opera’s programs, from repertoire selection, cast-
ing and visual design to education and artist training.
The Minnesota Opera has been proud of the critical atten-
tion showered on us in recent seasons for offering what OperaNews called “the most daring programming in America” —
work that The New York Times called “terrifically com-
pelling.” Our bel canto productions have been a lynchpin of
our programming since 2000, in addition to our commit-
ment to contemporary work and the greatest operas in the
standard repertoire. Wall Street Journal gave us accolades for
“sticking to our artistic guns”…“while most American op-
eras traded risky programming for safer options.”
But praise alone can’t build a new production of a ne-
glected masterwork. That requires the support of you, our
audience and patrons, and the support of corporations, foun-
dations and government funding. It is with gratitude that I
acknowledge a $25,000 grant from the National Endow-
ment of the Arts. This gift makes the production before you
possible, and also validates the artistic vision of this company.
Today The Minnesota Opera is enjoying unprecedented
stability and unity of mission, working toward its vision to
create a new, dynamic opera company model based upon in-
novation, world-class artistic quality and strong community
service. Thank you for your continued contribution to our vi-
sion with your attendance and support. Enjoy the perfor-
mance!
Kevin Smith
President & CEO
Welcome to this new production of Maria Padilla!
Donizetti wrote passionate, exciting music that leaves an
audience thrilled from the overture to the final high note of
the opera. The tenor’s dramatic and unusual mad scene is an
extraordinary example and led to the obvious casting choice of
Bruce Ford, who is one of the preeminent bel canto tenors
today and certainly an audience favorite! Don’t miss his CD
signing following the March 13 matinee. Maria is a tour de
force role and there is no one in the world who can sing it better than Brenda
Harris, who returns after a season’s absence to give a performance that will surely
be as unforgettable as her Norma was in 2003. English baritone Ashley Holland
debuts as Pedro the Cruel, and Resident Artist Karin Wolverton is featured as
Ines.
You may notice a difficult dramaturgical aspect of this opera – the entire opera
builds toward a tragic ending, but all of the sudden, there’s a happy outcome (as
you can read in your program notes, the original ending was intended as tragic,
but the censors would not allow it). This tension inspired director Jose Maria
Condemi, set designer Cameron Anderson and costume designer Gail Bakkom.
They chose to visually contrast the very different social worlds of Maria and
Pedro, worlds that in some ways don’t belong together. While the outcome is a
happy one for those two characters, there is some question about how their mar-
riage will fare politically – as conductor Francesco Maria Colombo notes, you can
hear that foreshadowing in the final notes of the finale.
Enjoy the opera!
Dale Johnson
Artistic Director
Board of DirectorsOfficersJohn A. Blanchard,
III, ChairRolf Engh
Vice ChairLynne E. Looney
SecretaryThomas J. Foley
TreasurerKevin Smith,
President & CEO
Directors EmeritusBurt Cohen
Julia W. Dayton
Mary W. Vaughan
Legal CounselJames A. Rubenstein,
Moss & Barnett
Honorary DirectorsDominick Argento
Philip Brunelle
Elizabeth Close
Dolly Fiterman
Charles C. Fullner
Norton M. Hintz
Donald W. Judkins
Liz Kochiras
Jevne Pennock
Patricia H. Sheppard
DirectorsKaren Bachman
Susan S. Boren
Nicky B. Carpenter
Richard P. Carroll
Jane M. Confer
Susan J. Crockett
Sara Donaldson
Brad F. England
John G. Forsythe
Steve Fox
Sharon Hawkins
Karen Himle
Ruth S. Huss
Heinz F. Hutter
Paula R. Johnson
Lucy Rosenberry
Jones
Michael F. Kelly, Jr.
Elizabeth “Becky”
Malkerson
Thomas R.
McBurney
Brian E. Palmer
Jose Peris
Steve Rothschild
Stephanie Simon
Catie Tobin
H. Bernt von Ohlen
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aNotes from the Leadership
from the Artistic Director
from the President
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The Minnesota Opera’s artistic philosophy is inspired by bel canto (“beautiful singing”), the ideal upon
which Italian opera is based. Bel canto values, which emphasize intense emotional expression supported
by exquisite technique, inform every aspect of the company’s programs, from repertoire selection,
casting and visual design to education and artist training. The Opera you are about to enjoy represents a
continuation of The Minnesota Opera’s committment to produce works from this rich body of early 19th-
century Italian masterpieces.
Bel Canto Artistic Philosophy
Bruce Ford in Lucrezia Borgia Sumi Jo and Vivica Genaux inThe Capulets & The Montagues
Brenda Harris in Semiramide Irini Tsirakidis in Lucrezia Borgia
By arrangement with Boosey & Hawkes, Inc., agent inthe usa for Josef Weinberger, Ltd., London, publisher
and copyright owner.
The appearances of Theodore Chletsos, national finalist, AnnaJablonski, regional finalist, and Seth Keeton, district finalist ofthe Metropolitan Opera National Council Auditions, are made
possible through a Minnesota Opera Endowment Fundestablished for Artist Enhancement by Barbara White Bemis.
Performances of Maria Padilla are being taped for delayed broadcast onMinnesota Public Radio, ksjn 99.5 in the Twin Cities.
The Minnesota Opera season is sponsored by U.S.Bank, Private Client Group.
The appearances of the 2004–2005 seasonconductors are underwritten by SpencerStuart.
The 2004–2005 Camerata Circle Dinners aresponsored by Rider Bennett.
Opera Insights is sponsored by Thrivent Financial for Lutherans.
Intermission reception sponsored by Lowry HillPrivate Wealth Management.
Rogers & Hollands is the Official Jeweler of The Minnesota Opera.
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The Carnival of 1841–42 featured auspiciousprogramming for Milan’s Teatro alla Scala,
which presented important premieres by three ofItaly’s most significant composers. GaetanoDonizetti opened the season on the traditionaldate, the day after Christmas, with a new work,Maria Padilla. On January 6, Giovanni Pacini launched
the Milanese premiere of Saffo, which had been first seen
in Naples just over a year before. And a young Giuseppe
Verdi presented Nabucco, his third opera to date, on March
9. Interspersed among them was a series of less favorably
received works – revivals of Bellini’s La straniera and
Donizetti’s Belisario (the latter of which was disastrously
sung by Verdi’s first Abigaille, the vocally distressed
Giuseppina Strepponi) and a new opera by Alessandro
Nini entitled Odalisa. It has been suggested that Nabucco’ssuccess eclipsed that of Maria Padilla, but in fact it was
Saffo, Pacini’s greatest work, which did the deed – MariaPadilla closed on February 20 after 23 performances, three
weeks before anyone had laid eyes on Verdi’s first big hit.
Music by Gaetano DonizettiLibretto by Gaetano Rossi
after François Ancelot’s play (1838)
World premiere at the Teatro alla Scala, MilanDecember 26, 1841
March 5, 8, 10, 12 and 13, 2005Ordway Center for the Performing Arts
Sung in Italian with English captions
Conductor . . . . . . . . . . .Francesco Maria ColomboStage Director . . . . . . . . . . . .Jose Maria CondemiSet Designer . . . . . . . . . . . . . .Cameron AndersonCostume Designer . . . . . . . . . . . . . . .Gail BakkomLighting Designer . . . . . . . . . . . .Michael MurnaneWigs and Makeup . . . . .Tom Watson & AssociatesChorusmaster . . . . . . . . . . . . . . . . .Bruce StasynaProduction Stage Manager . . . . .Alexander FarinoEnglish Captions . . . . . . . . . . .Christopher Bergen
The Cast
Maria Padilla . . . . . . . . . . . . . . . . . Brenda HarrisDon Ruiz di Padilla, her father . . . . . . . Bruce FordDon Pedro, Prince of Castile . . . . . Ashley HollandInes, Maria’s sister . . . . . . . . . . . Karin WolvertonDon Ramiro, Duke of Albuquerque . . Raymond AyersDon Luigi, Count of Aguilar . . . Theodore ChletsosDon Alfonso di Pardo . . . . . . . . . . . . .Seth KeetonFrancisca, Maria’s duenna . . . . . . . Anna JablonskiBianca of France . . . . . . . . . . . . . . . . .Lynn Rotto
Courtiers, cavaliers, pages, French envoys, servants, townspeople
Setting: Castile, Spain
Background Notes by David Sander
The lackluster run of Maria Padilla marked a difficult
moment in Donizetti’s career. It had been seven years since
he had been offered a commission by the management of
La Scala, though the theater regularly programmed his
other works. There appeared to be some bad blood be-
tween the composer and impresario Bartolomeo Merelli
since the unfor-
tunate premiere
of Maria S tu-arda in 1835.
Originally in-
t ended f o r
Nap l e s , t h e
ope r a , wh i ch
wa s b a s ed on
the historical
conflict between
Mary Stuart and
Elizabeth i of
England, was
banned by the
k ing h imse l f
(his wife, Maria
C r i s t i na , d i -
rectly descended
f r om th e i l l -
fated Queen of
Scots). Instead,
it was hastily re-
fitted into Buondelmonte, a story involving the 13th-century
struggle between the Guelphs and Ghibellines. Soprano
Maria Malibran had great respect for Maria Stuarda and
demanded to be cast in the title role when the work came
to Milan. Though the censors had made some changes,
Malibran defiantly delivered the most offensive line to her
rival Elisabetta, “vil bastarda.” The diva believed her fame
would carry this serious breach of conduct, but after only
six performances, the police shut the production down.
Coincidentally, Maria Padilla also ran afoul of the censors.
François Ancelot’s original play, which Donizetti may have
seen after it premiered in Paris on October 29, 1838, con-
cluded with Maria’s self-stabbing after she steals the crown
from Blanche of Bourbon’s head. Suicide could be a tricky
issue for the censors – in Rome and Naples it was commonly
banned outright, and though Milan waffled both ways, in
this case the censors followed suit. They instead insisted
Maria simply die of joy, brought on by the fulfillment of her
dream of being recognized as Castile’s rightful queen, an
ending at which Donizetti balked. Soon after the perfor-
mances had begun, he changed the tragic denouement to a
happy one – Pedro acknowledges her as his wife and Maria’s
father regains his sanity.
With this new, yet still dramaturgically flawed ending
(set to a glitzy new cabaletta for its star), the opera re-
mained popular for about two decades, achieving 50 dif-
ferent productions before it fe l l into obscurity.
Nonetheless, it is a masterpiece of the bel canto era.
Granted, Donizetti followed several of the expected con-
ventions, but by his mature period, he had introduced
many innovations, much like Verdi would do over the next
11 years. In most of his scenes, the composer sticks to the
conventional double aria slow-fast structure, but also in-
cludes melodic arioso passages in his recitatives (for exam-
ple, Don Pedro’s first appearance in Act i and Maria’s
opening of Act iii). He experiments with larger dramatic
frameworks, such
a s Ru i z ’ s mad
scene in Act iii,i n s e r t i ng a
larghetto romanza
section between
two allegro move-
ments, essentially
creating a triple
aria structure. In
fact, by this time
in his career, he
had begun to de-
celerate many of
his cabalettas for
dramatic effect (at
times slower than
the preceding ca-
vatina), marking
the t empo
maestoso, moderatoor even andantei n s t e ad o f t h e
more lively allegro assai, vivace or presto. His ensembles also
break form – duets (for example, the slow section of Ines
and Maria’s stellar Act ii duet) become less repetitive and
larger ones, such as the sextet at the end of Act i, break
with traditional formulae (we already had seen the seeds of
this in the male ensembles of Lucrezia Borgia), offering
more diverse reflection and independence of thought. Fi-
nally, we see a more imaginative use of orchestra through-
out (aspects Donizetti picked up in France), from
mood-setting orchestral introductions to the use of a
poignant solo English horn to underscore the touching Act
iii trio.
Most significantly, we see a notable reallocation of voice
types. Typically the tenor would be the main love interest;
instead Donizetti gives this voice to the father – the first
Ruiz was Domenico Donzelli, who at age 51 was nearing
the end of his career. Ruiz is a character closer to his real age
and the relatively low tessitura better suited his voice at that
time (rather atypical of the era, the tenor is emasculated by
the baritone and is given a mad scene). Similarly, though
the lower-voiced baritone range reveals the darker character
of Pedro, the voice sits rather high, anticipating the hybrid
tenor/baritone Verdi would exploit in the coming years (the
first Pedro, Giorgio Ronconi, was a prototype and would
come to sing the title role of Rigoletto for the London pre-
miere of Verdi’s opera).
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Scenic design by Cameron Anderson
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Artist Profile: Brenda HarrisAn interview by Lauren Rico
Broadcast Host Lauren RicoFor the last 15 years, Lauren Rico has been able to combine her love of music with her passion for
public radio. A longtime student of the French horn, Lauren holds a Master’s degree from George
Mason University. She has worked at numerous radio stations in cities across the country including
Tampa, Washington DC, New York City and Charlotte. Lauren has been on the staff of Classical 24,
Minnesota Public Radio’s national classical music service since 1999. In 2001, she received the Gra-
cie Allen Award for Best National Radio Special from the Association of Women in Radio and Tele-
vision for Instrumental Women: Orchestrating Change, a series on the role of women in American
orchestras. She has served as host and producer of The Minnesota Opera broadcasts since 2001.
act i
Scene one – The Castle of Padilla Ines
prepares for her impending nuptials
with Don Luigi. The festivities remind
Maria of a dream she once had – she
too was led to the altar, and then to the
throne as Queen of Castile. Ines de-
nounces her sister’s reckless ambition,
and Maria consoles hersel f with
thoughts of Count Mendez, who ar-
rives presently. As the wedding takes
place, Mendez tenderly addresses
Maria, and she is again consumed by
her vision.
Scene two – Maria’s bedchamber As Maria
prepares to retire for the evening, Fran-
cisca enters the room in an agitated
state – there is a plan afoot to abduct
her charge. The castle guards have been
sufficiently bribed by the king’s son,
Don Pedro, who posed earlier as
Mendez. Surprised, Maria wonders if
the dream is truly her destiny. As
Pedro enters the room, Maria pru-
dently defends her honor with a dag-
ger. She derides his deception, but he
counters with a marriage proposal. As
they revel in their happiness, Pedro
confesses that, for the moment, their
union must remain a secret. Maria
agrees, though with some trepidation.
– intermission –
act ii
A room in the royal palace Two years
later, Pedro is now King of Castile, but
Maria is still kept as a royal mistress.
Courtiers praise her beauty, yet scorn
the liaison. The Queen Mother and the
Prime Minister, Don Ramiro, have
arranged a politically advantageous
marriage between Pedro and Bianca of
France – she is en route as they speak.
Don Ruiz di Padilla is angered by his
daughter’s dishonor, and Ramiro sees
an opportunity to use a father’s rage for
his own benefit.
Ines learns from Maria that Luigi
has been pardoned for killing Pedro’s
favorite, Don Alfonso, during a failed
revolt. Ruiz was also saved, but Maria
weeps, for he will not forgive the
shame she has brought to his house.
Pedro enters the room and is imme-
diately confronted by Ruiz, who even-
tually challenges him to a duel. The
king can barely restrain his rage, yet
rather than demanding the old man’s
execution, orders a beating instead. As
Maria begs for mercy, Ines reproaches
Pedro for his cruelty. Cursing the day
she fell in love, Maria and her sister
leave to attend to their injured father.
– intermission –
act ii i
Scene one – Don Luigi’s modest apartmentsThree days after their father’s beating,
Maria and Ines lament his pitiable state.
As Ruiz stirs, Maria pleads for his for-
giveness, but it becomes clear his mind
has altered. In a desperate effort to re-
store his sanity and to prove her purity,
Maria produces the legal document le-
gitimizing her marriage to the king. At
the sight of the royal seal, Ruiz sets the
parchment ablaze, in order to rid them
of the destruction Pedro has brought to
their family. In the distance, the arrival
of Bianca can be heard, and Maria be-
comes newly determined to assert her
matrimonial rights.
Scene two – The throne room of the palaceCourtiers joyously receive the noble
bride and the coming of peace within
the realm. Pedro privately bemoans the
demands of royal duty and his betrayal of
Maria. As the crown is about to be
placed on the head of his new bride,
Maria rushes into the room. Asserting
her marital rights, she grabs the crown
and places it upon her own head. She
forces the king to face the raving Ruiz
and the consequences of his rash act.
Pedro recognizes Maria as his queen in
spite of unsettled murmuring amongst
the courtiers who fear French retaliation.
Synopsis13
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Scenic design by Cameron Anderson
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Gaetano Donizettib Bergamo, November 29, 1797; d Bergamo, April 8, 1848
With nearly 70 operas to his credit,
Gaetano Donizetti was the lead-
ing Italian composer in the decade be-
tween Vincenzo Bellini’s death and the
ascent of Giuseppe Verdi. Donizetti
was born in the northern Italian city of
Bergamo to an impoverished family.
After showing some musical talent he
was enrolled in the town’s Lezioni Cari-
tatevoli and had the good fortune to
study with Giovanni Simone Mayr,
maestro di cappella at Santa Maria Mag-
giore. Originally from Bavaria, Mayr
was a successful composer in Italy dur-
ing the era preceding Rossini’s rise to
fame, with dozens of operas to his
credit. Though offered many presti-
gious appointments throughout Eu-
rope, Mayr remained loyal to his
adopted community and greatly en-
hanced the local musical institutions.
Donizetti arrived at a time when Mayr
was writing his greatest operas, and his
impression on the younger composer
was pronounced. Throughout his life
Donizetti regarded him as a second fa-
ther, though he would outlive his mas-
ter by only three years.
When it came time, Donizetti fur-
thered his education at the Accademia
Filarmonica in Bologna (shadowing
Rossini, who had once studied there).
He had already penned several short
operas before receiving his first com-
mission in 1818 from the Teatro San
Luca in Venice – this was Enrico di Bor-gogna to a libretto by Bartolomeo
Merelli, who in later years as impresario
of La Scala was instrumental in the be-
ginnings of Verdi’s career. Further
works were produced in Venice, but
Donizetti returned to Bergamo for a
few years of relative inactivity. A letter
of introduction from Mayr to poet Ja-
copo Ferretti led Donizetti to Rome,
where in 1822 he would have his first
unequivocal success, Zoraide di Grenata.His career was just getting started.
Later that year Donizetti settled in
Naples and used it as a base for the next
16 years. He arrived just as Rossini was
finishing a multi-year contract with the
royal theaters. Like Rossini he had the
ability to work at the increasingly rapid
pace demanded by the Italian theater
industry and was able to produce three
to four operas a year for most of his life.
Many remain timeless operatic gems.
Anna Bolena (1830) gained Donizetti
international esteem and was indicative
of the composer’s healthy appetite for
English history. Two later works of dis-
tinction, Maria Stuarda (1835) and
Roberto Devereux (1837) complete what
is known as the “Tudor trilogy.” L’elisird’amore (1832), La fille du régiment(1840) and Don Pasquale (1843)
demonstrated his expert handling of
lighter subjects, while Lucrezia Borgia(1833), Gemma di Vergy (1834), Lucia diLammermoor (1835), Maria de Rudenz(1838) and Maria Padilla (1841) dis-
played the composer’s mastery of the
Italian melodrama fueled by impas-
sioned and unrestrained literature of
the Romantic period. His influence on
Verdi cannot be underestimated.
Donizetti’s success in dealing with
both comic and tragic settings was due
in part to his own manic-depressive
personality. Well-acquainted with per-
sonal misfortune, Donizetti lost in the
span of eight years his mother, father,
two infant sons, an infant daughter and
Virginia Vasselli, his wife of seven
years. He never truly recuperated after
her death, locking the door to her
room and refusing to utter her name
again. His melancholia may have been
induced by early symptoms of syphilis,
which he contracted as a young man,
and also perhaps the responsibility he
may have felt for harboring the disease
that likely cost him his wife and chil-
dren.
Donizetti made his Paris debut in
1835 with Marino Faliero at the
Théâtre Italien and later premiered LesMartyrs (1840) at the Paris Opéra. A
French translation of Lucia made his
name a household word, and in 1840
the composer captivated audiences
with La favorite, which became hugely
popular throughout Europe and North
America. One of his very last works for
the stage, Dom Sébastien (1843), was
cast in the mold of French grand opéraand was extremely well-received.
The composer had hoped to assume
Niccolò Zingarelli’s post as director of
the Naples Conservatory, but when the
85-year-old composer died in 1837,
Donizetti’s considerable musical con-
tribution to the city was overlooked in
favor of another composer, Saverio
Mercadante, chiefly because he was a
native Neapolitan. After a brief stint in
Paris, Donizetti turned toward the
Austrian state, where he became music
director of the imperial theaters. Two
of his final works had their premiere at
Vienna’s principal venue, the Kärnt-
nertortheater: Linda di Chamounix(1842) and Maria di Rohan (1843).
After the success of Linda, he was ap-
pointed Composer to the Austrian
Court, a position Mozart had held a
half century before.
By 1845, symptoms of his illness
had become incapacitating, and his er-
ratic behavior could no longer be ex-
cused by overwork. With his family’s
intervention Donizetti was placed in a
French sanitarium at Ivry for 17
months, then transferred to a Paris
apartment. There he was regularly vis-
ited by musicians and colleagues, in-
cluding Verdi, but by this point he
was paralyzed, disoriented and rarely
spoke. In September 1847 friends
arranged his return to Bergamo, where
he passed his final days at the home of
a wealthy patroness.
Gaetano Donizettti, portrait by Arturo Rietti
Scala/Art Resource, NY
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Maria Padilla not only marks a high
point in Donizetti’s compositional
style, but also in the genre of the Ro-
mantic drama. As a second-rate follower
of Victor Hugo, French playwright
François Ancelot naturally went along
with the trend, putting historical fig-
ures on stage in fictionalized situations.
In his day, he was a leading author,
whose drama Têtes rondes et cavaliers had
been turned into I puritani in 1835 by
Vincenzo Bellini and Felice Romani,
and he had already served Donizetti
once before when his Élisabeth d’An-gleterre became Roberto Devereux in 1837,
to a libretto by Salvadore Cammarano.
Donizetti wanted the overcommitted
Cammarano for this project as well, but
instead he ended up with Gaetano
Rossi, a more conventional poet who
had already had a long career writing
for Mayr, Rossini (Tancredi and Semi-ramide), Meyerbeer, Pacini and Mer-
cadante (he would also collaborate on
Donizetti’s next opera for Vienna, Lindadi Chamounix).
It’s true the real María de Padilla was
the mistress of Pedro “the Cruel” of
Castile (r 1350–69), whom he is said to
have married and who was frequently at
odds with the Duke of Albuquerque for
her political machinations (in his play,
Ancelot made more of her involvement
in politics, as well as painting María in a
much less flattering light; curiously it
was in Albuquerque’s home where the
couple had first met in 1352). Pedro
had merely followed the custom set
forth by his father
Alfonso xi’s relationship with Leonor de
Guzmán (operatically realized in
Donizetti’s earlier opus, La favorite) and
his uncle Dom Pedro (also “the Cruel”)
of Portugal’s liaison with Inés de Castro
(a subject set more than 20 times, most
notably by composers Zingarelli and
Persiani; Hugo’s first play was also on
this subject). The coronation scene,
however, and Don Ruiz’s madness are
mere fabrications. Pedro was indeed
forced to marry Blanche (a cousin to
French king Charles V), but abandoned
her only two days after the ceremony.
Eventually he put his young bride in
prison, but not before she had one last
stand. While in transit to Toledo, she
sought refuge in a local church, and re-
fusing to leave, managed to organize a
small rebellion. Pedro likely ordered her
execution in 1361, the same year as
María’s natural death (it’s not a stretch
to imagine how he earned the notorious
appellation). During this tumultuous
period, the Castilian king married a
third time, to Inés de Castro’s sister
Juana, angering the Pope – it was subse-
quently annulled due to Pedro’s then-
existing marriage to Blanche. And, in
1362, to legitimatize his heirs Alfonso,
Beatriz, Constanza and Isabella, Pedro
announced before the cortes that he had
been secretly married to María de
Padilla the entire time. Thus, at some
point when all the women were still
alive, Pedro had had three wives at
once.
Yet polygamy was never a problem
for these medieval
Iberian monarchs, though their secret
mistresses always begat unfortunate re-
sults. In the case of Inés de Castro, King
Affonso of Portugal needed his son un-
encumbered for another royal match (to
a Castilian princess this time) and had
her poisoned. Once king, Dom Pedro
brutally ripped out the hearts of all in-
volved in the plot and allegedly ex-
humed Inés’s corpse to be stuffed and
forever placed in his adoring presence.
The consequences of Alfonso’s affair
with Leonor were even more dire and
everlasting. Immediately after his fa-
ther’s death in 1350, Pedro locked
Leonor up, likely at the urging of his
mother (and Pedro of Portugal’s sister),
María Affonsez of Portugal, who had
been extremely jealous of her rival. Al-
fonso’s eight sons by Leonor, the Trastá-
maras, did not take a liking to their
mother’s harsh treatment, and later, her
execution. The leading Trastámaran,
Enrique, made his own claim to the
throne, having been born before his
half-brother Pedro. Though royal bas-
tards were generally excluded from suc-
cession, Enrique and his siblings rallied
enough support to engage Castile in a
bloody civil war. There were occasional
truces, and though Enrique and brother
Tello were invited and even participated
in Pedro’s wedding to Blanche, another
brother, Fadrique, was a constant menace
and was put to death in María’s presence,
BiancaInesPedroMaria
Ruiz
Cost
ume
desi
gns
by G
ail B
akko
m
Continues on page 32
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IVEY AWARDS4C
The Artists For more biographical information about these artists, visit our website at www.mnopera.org
Raymond AyersDon Ramiro
Minnesota Opera Resident ArtistRecently
Madame Butterfly, The Minnesota OperaFiddler on the Roof; Faust; Susannah; Roméo et Juliette,
Chautauqua OperaMirandolina; Madame Butterfly; The Seagull,
Manhattan School of MusicBach Cantata No. 80, Princeton Symphony Orchestra
Apprentice Artist – Académie Internationale d’Eté de Nice
UpcomingCarmen; Nixon in China; Tosca; Don Giovanni, Minn. Opera
Theodore ChletsosDon Luigi
Minnesota Opera Resident ArtistRecentlyMadame Butterfly, The Minnesota OperaAmahl and the Night Visitors, Minnesota OrchestraLes contes d’Hoffmann; Student Prince; others, Central City Op.Roméo et Juliette; La bohème, Indianapolis OperaL’elisir d’amore; Roméo et Juliette, Lyric Opera of Kansas CityAriadne auf Naxos; Le trouvère, Sarasota Opera
UpcomingCarmen; Tosca; Don Giovanni; Elephant Man, Minn. OperaVanessa, Central City Opera
Bruce FordDon Ruiz
Minnesota Opera DebutThe Abduction of Figaro, 1984
RecentlyIl barbiere di Siviglia, Opéra National de Paris – Bastille
Mitridate; Tito, Royal Opera House – Covent GardenZelmira, Edinburgh Fest.; Ermione, Dallas Opera
Idomeneo, Maggio Musicale Fiorentino; De Vlaamse; LiceuLucrezia Borgia; La clemenza di Tito, The Minnesota Opera
UpcomingTamerlano, Netherlands Op.; Il re pastore, Théâtre de la Monnaie Adelaide di Borgogna, Edinburgh Festival; Idomeneo, Liceu
Ashley HollandDon Pedro
Minnesota Opera DebutRecently
Falstaff; Ernani; others, English National OperaLucia di Lammermoor, Lyric Opera of Chicago
Parsifal, Grazer OperaDon Giovanni, Royal Opera House – Covent Garden
La vera storia, Staatsoper (Hamburg)La bohème; Falstaff, Semperoper (Dresden)
UpcomingLa traviata, Opera Pacific
Billy Budd, English National Opera
Anna JablonskiFrancisca
Minnesota Opera Resident ArtistRecentlyChautauqua Opera Young Artist ProgramLe nozze di Figaro, The Astoria Music FestivalIl barbiere di Siviglia, Portland SummerFestMagic Flute; Passion; Rigoletto; Handmaid’s Tale; La traviata;
Dutchman; The Merry Widow, The Minnesota OperaLa Cenerentola, Portland State UniversityAlbert Herring; others, Bel Canto nwUpcomingCarmen; Nixon in China, The Minnesota Opera
Brenda HarrisMaria Padilla
Minnesota Opera DebutArmida, 1993RecentlyElektra, Austin Lyric OperaDon Giovanni, Atlanta OperaLa finta giardiniera, New York City OperaVanessa, Opéra National du Rhin (Strasbourg)La clemenza di Tito, Metropolitan Opera; Opéra du RhinNorma; Tito; Semiramide; others, The Minnesota Opera
UpcomingThe Consul, Arizona Opera; Orazi & Curiazi, Minn. Opera
17•
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visit our website at www.mnopera.org
Cameron AndersonSet Designer
Minnesota Opera DebutRecently
Così fan tutte, Seattle Opera Young Artist ProgramLa bohème, San Francisco Opera Center
Susannah; Roméo et Juliette, Festival Opera (Walnut Creek, ca)Così fan tutte, Opera Theatre of Lucca (Italy)
Much Ado About Nothing, Shakespeare and Company
UpcomingThe Barber of Seville, Opera Theatre of St. Louis
Don Giovanni, Wolf Trap OperaMeasure for Measure, Garson Theatre Company
Francesco Maria ColomboConductor
Minnesota Opera DebutRecently
The Telephone; The Medium, Spoleto Festival (Italy)Les contes d’Hoffmann, Brescia; Como; Cremona; Pavia (Italy)
Lucia di Lammermoor, Thessaloniki Opera (Greece)Guest Conductor – Orchestra Sinfonica G. Verdi (Milan);
Orchestra della Toscana (Florence); Orch. Sinfonia Siciliana (Palermo); Frankfurt Opera; Mexico City Phil.; others
UpcomingI puritani, Thessaloniki Opera; Tosca, Opera Carolina
Guest Conductor – Verdi Orch.; Toscanini Orch. (Parma)
Seth KeetonDon Alfonso
Minnesota Opera Resident ArtistRecently
Madame Butterfly; The Magic Flute; Passion; Lucrezia Borgia; Rigoletto, The Minnesota OperaAmahl and the Night Visitors, Minnesota Orchestra
La bohème; Roméo et Juliette; Don Giovanni, Chautauqua Op.La bohème; Dead Man Walking; La traviata, Austin Lyric Op.
A Midsummer Night’s Dream, Central City Opera
UpcomingCarmen; Tosca; Don Giovanni, The Minnesota Opera
Death in Venice; Lucie de Lammermoor, Glimmerglass Op.
Jose Maria CondemiStage Director
Minnesota Opera DebutRecentlyDon Giovanni, Cincinnati OperaCosì fan tutte, Seattle Opera Young Artist ProgramUn ballo in maschera, Canadian Opera CompanySuor Angelica; Gianni Schicchi; La bohème, San Fran. Opera CenterL’elisir d’amore; Don Pasquale, Opera San Jose
RecentlyFalstaff, Houston Grand Opera (Associate Director)Così fan tutte, San Francisco Opera (revival)Il trovatore, Austin Lyric Opera
Gail BakkomCostume Designer
Minnesota Opera DebutThe Village Singer, 1982
RecentlyLucretia Borgia; Rigoletto (2003); La traviata;
Macbeth; The Marriage of Figaro (tour); Otello; Faust; Madame Butterfly (tour); The Merry Widow (1994);Frankenstein; Snow Leopard; Cinderella (tour); Rigoletto (1987); South Pacific, The Minnesota Opera
Seven Sevens, New Music Theatre Ensemble
Karin WolvertonInes
Minnesota Opera DebutLucia di Lammermoor, 2001
RecentlyThe Magic Flute; Passion; Rigoletto; The Handmaid’s Tale; Norma;
The Merry Widow; Don Carlos; others, Minnesota OperaThe Student Prince, Central CitySalome, Des Moines MetroDvorak Te Deum; Amahl, Minnesota Orchestra
UpcomingCarmen; Don Giovanni, The Minnesota OperaLes contes d’Hoffmann, Des Moines Metro Opera
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The Artists For more biographical information about these artists, visit our website at www.mnopera.org
Michael MurnaneLighting Designer
Minnesota Opera DebutAriadne auf Naxos, 1987
RecentlyThe Magic Flute; La traviata, The Minnesota Opera
Elijah’s Wake; The Holiday Pageant, Open Eye Figure Theater
Nutcracker Fantasy, Minnesota Dance TheatreGlamorama, Marshall Field’s (Minneapolis; Chicago)
Theater credits – Arizona Theatre Co.; Vocal Essence;Chanhassen Theatres; Illusion Theater; Jungle Theater;
Children’s Theatre; Minn. Dance Theatre; Minn. Orchestra
Bruce StasynaChorusmaster
Minnesota Opera DebutDer Rosenkavalier, 2000
RecentlyMadame Butterfly; The Magic Flute; others, Minn. OperaMadame Butterfly; La Cenerentola, Des Moines Metro OperaFidelio, Minnesota OrchestraDie ägyptische Helena, American Symphony OrchestraThe Barber of Seville; Tito; Don Pasquale, Wolf Trap Opera
UpcomingCarmen; Nixon in China, The Minnesota OperaSweeney Todd, National Symphony; The Latest Word, Wolf Trap
National Council Auditions
Minnesota District Auditions November 13, 10am at Ordway
Center for the Performing Arts
Master Class with Cynthia Munzer November 14, 1pm
at Landmark Center
Upper Midwest Regional AuditionsFebruary 19, 10am at Ordway Center
All events are free and open to the public.
For more information,
please call 763-476-2372
(Judith Boylan, Upper Midwest Reg. Dir.)
or 952-938-6908
(Margaret Houlton, MN District Dir.)
Met winner??
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•22
The Minnesota Opera OrchestraViolin I Kristen Christensen
concertmasterJulia Persitz
David Mickens
Allison Jones
Judy Thon-Jones
Andrea Een
Kari Giles
Miriam Moxness-
Griffiths
Violin II Elizabeth Decker
Stephan Orsak
Melinda Marshall
Carolin Kiesel Johnson
Margaret Humphrey
Almut Engelhart-
Kachien
ViolaAnnette Caruthers
Vivi Erickson
Laurel Browne
Jenny Lind Nilsson
Susan Janda
Cello Jim Jacobson
Adriana LaRosa Ransom
Rebecca Arons Goetz
Thomas Austin
Bass John Michael Smith
Constance Brown
Michael Watson
FluteMichele Antonello
Frisch
Amy Morris
(double piccolo)
OboeMarilyn Ford
Michael Dayton
(double English horn)
ClarinetSandra Powers
Nina Olsen
BassoonCoreen Nordling
Laurie Hatcher Merz
HornCharles Kavalovski
Charles Hodgson
Michael Petruconis
Lawrence Barnhart
TrumpetJohn G. Koopmann
Christopher Volpe
Trombone Sue Roberts
Rick Gaynor
David Stevens
TimpaniKory Andry
PercussionMatthew Barber
Paul Hill
HarpMin J. Kim
Personnel ManagerSteve Lund
The Minnesota Opera ChorusLori Barrett-Pagano
Kelsey Bruso
Karen Bushby
Lisa Butcher
Madeline Cieslak
Benjamin Crickenberger
Steve Dahlberg
Mario Diaz-Moresco
Molly Dimba
Jennifer Eckes
Andrew Elfenbien
Rachel Frazin
Jack Gunderson
April Hanson
Katherine Haugen
Robin Heggen
Ben Johnson
Brian Jorgensen
Jennifer Josephsen
Mark Josephsen
Callie Kimball
Brian Kuhl
Paula Lammers
Peter Larson
Shirley Leiphon
Elizabeth Longhurst
Tom Matchinsky
Mary Monson
Matthew Neil
Laura Nichols
Glenn Olson
James Plante
Peter Robinson
Dominick Rodriguez
Christopher Russell
Steve Sandberg
Joy Scheib
Joel Swearingen
SupernumerariesJohn Blaska
David Mehl
James Monson
Tommy Thompson
Resident Artists covering principal roles
Raymond Ayers –
Don Pedro
Theodore Chletsos –
Don Ruiz
Anna Jablonski – Ines
WBAQ4C
23•
ma
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In 1991 The Minnesota Opera created the legendary
Carmen that launched the career of Denyce Graves and,
like its heroine, became a modern myth. Seen and cele-
brated throughout the world, the dramatic and sexy Keith
Warner production returns for one final run on its home
stage.
“This production of Carmen put The Minnesota Opera on
the map,” Artist Director Dale Johnson said. “Few will for-
get the power that Keith Warner brought to the undeni-
able masterpiece, making it fresh, alive, contemporary and
sexy. In its stark simplicity the production uncovers the
mysteries of Carmen and her complicated relationship with
Don Jose. Warner was unafraid to be funny, provocative, vi-
olent and over the top. Our Carmen has traveled more miles
than almost any American opera production. It is with
great pride we present this daring production to The Min-
nesota Opera public one more time before its retirement.”
Making her Minnesota Opera debut as Carmen is Rinat
Shaham, who comes to the Twin Cities from Glynde-
bourne’s Carmen. Sharing the role in this double-cast pro-
duction is Kirsten Chávez. Scott Piper, who sang the Duke
in the company’s recent Rigoletto, appears as Don Jose. Ro-
seville native Karin Wolverton sings Michaëla, and
Matthew Arnold and Jonathan Carle alternate as Escamillo.
John Keenan conducts.
Georges Bizet’s Carmen is sung in French with English cap-
tions projected above the stage. The opera runs April 16-
24, 2005, at Ordway Center for the Performing Arts. Call
651-224-4222 for tickets.
Carmen is sponsored by American Express Minnesota Philanthropic Program.
APRIL 16, 17, 19, 20, 21, 22, 23, 24Sung in Spanish with English translations
projected above the stage.
For tickets, call 651-224-4222
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•24
The Minnesota Opera is proud to part-
ner with The Design Center at Interna-
tional Market Square for its 2005 Home
Design Show. The annual show is this
region’s largest and most prestigious
consumer design event, and a great af-
fair for anyone interested in the art, fur-
nishings, finishings and techniques that
combine to create beautiful spaces in
our homes and offices.
Among the highlights—four exquis-
ite Showcase Rooms, inspired by The
Minnesota Opera production of Carmenand designed by three of the region’s
leading designers—Michele Eich, Lola
Watson and Kathryn Johnson. Each
room is designed to capture the person-
ality of one of the opera’s central charac-
ters. Actual costumes used in our
productions will also be on display.
From 5-7 p.m. on March 18 and
Noon to 2 p.m. on March 19, designers
will be in their rooms to discuss the
opera as inspiration. They will be joined
by Minnesota Opera volunteers, who
will answer questions about our upcom-
ing production of Carmen and our orga-
nization.
2005 Home Design Show atInternational Market Square
Dates and timesFriday, March 18, 1 p.m. – 8 p.m.
Saturday, March 19, 10 a.m. – 5 p.m.
LocationInternational Market Square is
located in the historic Munsingwear
Building at the intersection of
Lyndale and Glenwood Avenues in
Minneapolis.
AdmissionTickets are $15 and can be paid via
cash or credit card. One ticket is
good for the entire weekend and
includes admissions to all seminars,
showrooms and presentations.
Information612-338-6250
www.imsdesignshow.com
The Minnesota Opera at The Home Design Show
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•26
The Minnesota Opera Fund
The Bel Canto Circle is The Minnesota Opera’s highest category of personal support, indicating lead gifts of $10,000 or more. With this designation, we recognize these very special friends for their commitment to the tradition of opera in our community.
Gold $5,000-$9,999Eric and Tracy AanensonMr. James BingerJane M. and Ogden W. ConferSusan and Richard CrockettDavid and Vanessa DaytonSara and Jock DonaldsonSally J. EconomonRolf and Nancy EnghMr. and Mrs. John ForsytheConnie Fladeland and Steve FoxN. Bud and Beverly Grossman
FoundationAlfred and Ingrid Lenz HarrisonSharon and Bill HawkinsKaren and John HimleBryce and Paula JohnsonSamuel L. Kaplan and Sylvia Chessen
KaplanMichael F. and Gretchen G. Kelly and
the Kelly Family FoundationConstance and Daniel KuninIlo and Margaret LeppikMs. Becky MalkersonTed and Roberta Mann Foundation
Mary Bigelow McMillanDiana and Joe MurphyElizabeth Musser Trust–FirTree FundBruce and Sandy NelsonAlbin and Susan NelsonNelson Family FoundationTimothy and Gayle OberBrian and Julia PalmerMr. and Mrs. Steven RothschildKevin and Lynn SmithVirginia L. and Edward C. StringerGregory C. SwinehartCatie Tobin and Brian NaasCharles Allen Ward Fund of The Saint
Paul FoundationEllen and Fred Wells
Silver $2,500-$4,999AnonymousChloe D. AckmanPaula AndersonMartha and Bruce AtwaterDr. Ford and Amy BellDavid Hanson and William BiermaierAlexandra O. Bjorklund
Rachelle Dockman ChaseCleveland FoundationDr. James E. and Gisela CorbettJohn and Arlene DaytonMary Lee DaytonKate Ellis and John HarrerChip and Vicki EmeryRondi Erickson and Sandy LewisTom and Lori FoleyLeslie and Alain FreconMr. and Mrs. R. James GesellMr. Denver GilliandBill and Eleanor GoodallThe Hackensack Fund of the
Saint Paul FoundationDorothy J. Horns, M.D., and
James P. RichardsonJay and Cynthia IhlenfeldDale A. JohnsonJacqueline Nolte JonesRobert & Susan JosselsonStan and Jeanne KaginErwin and Miriam KelenMrs. James S. KochirasSid and Diane L. Levin
David MacMillan and Judy KrowMary K. Mahley Family FoundationRoy and Dorothy Ann MayeskeJames and Judith MellingerRichard and Nancy Nicholson -
Nicholson Family FoundationWilliam and Barbara PearceMarge and Dwight PetersonJames J. Phelps and Nancy McGlynn
PhelpsMr. and Mrs. William PhillipsPaul and Mary ReyeltsLois and John RogersKen and Nina RothchildE. Elaine and Roger SampsonKay Savik and Joe TashjianFred and Gloria SewellDrs. Joseph and Kristina ShafferFrank and Lynda SharbroughMr. and Mrs. James SwartzTanrydoon Fund of The Saint Paul
FoundationWilliam Voedisch and Laurie CarlsonBernt von Ohlen and Thomas NicholNancy and Ted Weyerhaeuser
Individual Donors: The Camerata Circle
Individual Donors: The Bel Canto Circle
Anonymous (2)Karen BachmanRebecca Rand and E. Thomas BingerMary and Gus BlanchardRod and Susan BorenMrs. Thomas B. CarpenterDarlene J. and Richard P. CarrollRusty and Burt CohenEllie and Tom Crosby, Jr.Julia W. Dayton
Cy and Paula Decosse Fund of TheMinneapolis Foundation
The Denny Fund of The MinneapolisFoundation
Brad and Diane EnglandDolly J. FitermanJohn and Ruth HussHeinz and Sisi HutterLucy Rosenberry Jones
The Art and Martha Kaemmer Fund ofHRK Foundation
Warren and Patricia KellyPeter J. KingLynne LooneyPatricia LundThomas and Barbara McBurneyHarvey T. McLainMrs. Walter MeyersEstate of Edith J. Mueller
Mrs. George T. PennockJose Peris and Diana GuldenElizabeth and Andrew RedleafConnie and Lew RemeleStephanie Simon and Craig BentdahlRobert and Barbara StruykMary W. Vaughan Fund of The
Minneapolis FoundationC. Angus and Margaret Wurtele
Artist Circle $1,000-$2,499Anonymous (4)An Anonymous Gift from a Donor
Advised Fund of The Saint PaulFoundation
Kim A. AndersonLowell Anderson and Kathy WelteJaime Andrews and Jane Kolp-AndrewsJohn Andrus, IIICheryl Appledorn and Thomas
SchnettlerMartha Goldberg Aronson and Daniel
AronsonMr. and Mrs. Edmund P. BabcockDr. Thomas and Ann BagnoliPatricia and Mark BauerSue A. BennettJohn and Jennifer Bernstein Mr. and Mrs. Paul G. BoeningJan and Ellen BreyerJudith and Arnold BrierConley Brooks FamilyElwood F. and Florence A. CaldwellBruce and Deanna CarlsonJoan and George CarlsonJoe and Judy CarlsonBruce Coppock and Lucia MayDr. Stephen and Beth CragleMrs. Thomas M. Crosby, Sr.
Ruth and Bruce DaytonThomas and Mary Lou DetwilerMona Bergman Dewane and Patrick
Dewane Mrs. Sia DimitriouMr. and Mrs. Carl B. Drake, Jr.Ekdahl Hutchinson Family
Fund of The Minneapolis FoundationSusan Engel and Arthur EisenbergEster and John FeslerHenry and Anice FleshSalvatore S. FrancoPatricia R. FreeburgBradley A. Fuller and Elizabeth LincolnDavid and Kathy GalliganChristine and W. Michael GarnerLois and Larry GibsonHoward and Heidi GilbertMeg and Wayne GisslenPaul and Margot GrangaardMrs. Myrtle GretteRosalie Heffelfinger Hall Fund of The
Minneapolis FoundationMarthajane HapkeDon HelgesonJohn S. and Rosmarie HellingNancy and Doug HeltneCliffton K. Hill and Jody RockwellBill and Hella Mears HuegMr. and Mrs. Thomas Hull
Mr. and Mrs. Philip IsaacsonMr. and Mrs. James L. JelinekCharlotte and Markle KarlenJessie L. KellyLyndel and Blaine KingE. Robert and Margaret V. Kinney
Fund of The Minneapolis FoundationKenneth Kixmoeller, Jr. and Kim
OtnessMr. and Mrs. William KlingLisa C. KochirasMaria KochirasRobert L. Kriel and Linda E. KrachHelen L. KuehnAnita KuninMark and Elaine LanderganBarry Lazarus and Mary DearingRobert L. Lee and Mary E. SchaffnerCarl Lee and Linda Talcott LeeClinton and Judith LeeSusan LentheStefanie Lenway and Tom MurthaJerry and Joyce LillquistMr. and Mrs. B. John Lindahl, Jr.Benjamin Y. H. and Helen C. LiuBill LongDawn M. LovenMr. and Mrs. Donald LuckerMargery MartinSamuel D. and Patricia McCullough
Drs. Mary and Joseph MelandMr. and Mrs. Edward L. MillsThe Honorable and Mrs. Walter MondaleSandy and Bob MorrisMrs. John H. MyersSusan OkieAllegra ParkerKaren B. PaulJodi and Todd PetersonMary Ingebrand PohladTim and Elin RaymondFrances and George ReidKit Reynolds and Mike SchwimmerJohn and Sandra RoeMrs. John C. RowlandLeland T. Lynch and Terry Saario Fund
of The Minneapolis FoundationPatty and Barney SaundersDr. and Mrs. Richard J. SchindlerStanislaw and Krystyna SkrowaczewskiJeff and Helene SlocumJulie Jackley SteinerDon and Leslie StilesJames and Susan SullivanHenry and Virginia SweattMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonMr. and Mrs. Philip Von BlonMs. Wendy Wenger
Individual Donors: The Artist Circle
These lists are current as of January 31, 2005, and include donors who gave gifts of $1,000 or more to The Minnesota Opera Fund since July 1, 2003. If your name is not listed appropriately,
please accept our apologies, and call Kelly Classen, Development Systems Associate at 612-342-9553.
For information on making a contribution to The Minnesota Opera, please call Dawn Loven, Individual Gifts Director, at 612-342-9567.
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Corporations and Foundations
Minnesota Opera Sponsors
Bel Canto $10,000+3MAllianz Life Insurance of North AmericaAmerican Express Minnesota Philanthropic Pro-
gramAndersen FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationThe Bush FoundationCargill FoundationDeloitteDeluxe Corporation FoundationDorsey & Whitney FoundationEcolab FoundationGeneral Mills FoundationLowry Hill Private Wealth ManagementThe MAHADH Fund of HRK FoundationThe McKnight FoundationThe Medtronic FoundationOPERA AmericaPentair, Inc.Piper JaffrayRider Bennett Rogers & Hollands JewelersSpencerStuartSt. Paul TravelersSUPERVALU Stores, Inc.Target FoundationThrivent U.S. Bancorp FoundationU.S. Bank, Private Client GroupValspar FoundationWells Fargo Foundation MinnesotaWenger Foundation
Gold $5,000-$9,999Alice M. O’Brien FoundationAT&T FoundationBemis Company FoundationBriggs and MorganFaegre & BensonGerman-American Heritage FoundationJostens, Inc.Lindquist & VennumOnan CorporationR. C. Lilly FoundationRahr Foundation
RBC Dain Rauscher FoundationTwin Cities Opera GuildU. S. Trust Company Xcel Energy Foundation
Silver $2,500-$4,999Arts & Custom Publishing Co., Inc.Beim FoundationBoss FoundationBuuck Family FoundationDellwood FoundationHutter Family FoundationMargaret Rivers FundMary Livingston Griggs and Mary Griggs Burke
FoundationPeregrine Capital ManagementSchwegman, Lundberg, Woessner & Kluth, PATennant FoundationTozer FoundationWest Group
Artist Circle $1,000-$2,499Alliance Capital ManagementBrock-White Co., LLCThe Burdick-Craddick Family FoundationCharles B. Sweatt FoundationCurtis L. Carlson Family FoundationGREC, LLCGunkelmans Interior DesignHammel, Green and Abrahamson, Inc.Hogan & HartsonHorton, Inc.The C. A. Jackley FoundationLawrence M. and Elizabeth Ann O’Shaughnessy
Charitable Income TrustLe Jeune Investment, Inc.Leonard, Street & DeinardMaslon, Edelman, Borman & BrandMayo ClinicMcVay FoundationThe Minnesota Mutual FoundationThe Elizabeth C. Quinlan FoundationRobins, Kaplan, Miller & CiresiThe Southways FoundationSt. Croix Foundation
Season SponsorU.S. Bank, Private Client Group
Production SponsorsMadame Butterfly, U.S. Bank, Private Client GroupMaria Padilla, National Endowment for the Arts
Carmen, American Express Minnesota
Philanthropic ProgramNixon in China, AT&T Foundation
Production Innovation SystemGeneral Mills
Opening Night Gala SponsorU.S. Bank, Private Client Group
RAP Teaching ArtistsWenger Foundation
Camerata DinnersRider Bennett
Conductor AppearancesSpencerStuart
Evening Intermission SponsorLowry Hill Private Wealth Management
Promotional SupportMinnesota Monthly
Official Jeweler of The Minnesota OperaRogers & Hollands Jewelers
Opera InsightsThrivent Financial for Lutherans
$10,000 – $24,999
$25,000 – $49,000
$50,000 – $99,000
$100,000 +
The Minnesota Opera gratefully acknowledges
its major corporate supporters:
The Minnesota Opera Fund
GovernmentCity of Saint Paul’s Cultural STAR ProgramMinnesota State Arts Board
National Endowment for the Arts
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ToscaNovember 5–13, 2005Heart-pounding drama, intense passionand soaring melodies combine in one ofPuccini’s greatest operas. A sensationon the world stage and numerousrecordings, Galina Gorchakovamakes her Minnesota Opera debut inthe title role, alternating with fast-emerging American soprano LisaDaltirus in this double-cast produc-tion. Bradley Garvin makes hiscompany debut as Scarpia. Internation-ally acclaimed Peruvian maestroMiguel Harth-Bedoya makes hisMinnesota Opera conducting debut,and Michael Cavanagh returns to di-rect this opulent Baltimore Opera pro-duction.
Don GiovanniMarch 4–12, 2006Considered by many the perfect opera,Mozart’s Don Giovanni returns to TheMinnesota Opera stage for the firsttime in 10 years in a new productionby Patrick Mailler celebrating the250th anniversary of Mozart’s birth.American bass-baritone Kyle Ke-telsen stars as the legendary Spanishscoundrel who jousts his way from oneromantic conquest to the next. Patri-cia Risley and Lauren McNeese al-ternate as Donna Elvira, and KarinWolverton returns as Donna Anna.Metropolitan Opera regular PatrickCarfizzi debuts as Leporello, alter-nating with Seth Keeton , andTheodore Chletsos appears as Ot-tavio . Chinese conductor XianZhang makes her company debut.
Orazi & CuriaziApril 8–15, 2006A Bel Canto love story in the tradi-tion of Romeo and Juliet, Orazi &Curiazi (The Orazi and the Curiazi)unveils the tumult of tribal Rome, inwhich clan wars create tragic con-flicts of loyalties. Mercadante, whoLiszt called “Italy’s most importantcomposer,” was a notable contempo-r a r y o f R o s s i n i , B e l l i n i a n dDonizetti, and the dramatic innova-tor who paved the road for Verdi.Eric Simonson directs the Ameri-can premiere of this rare masterpiece.The company eagerly welcomes backtwo of its favorite artists: Bel Cantospecialist Brenda Harris returns asCamilla, and Scott Piper will singher ill-fated lover Curiazio.
“We’re thrilled to present the Amer-ican premiere of this long-neglectedtreasure,” Johnson said. “Mercadantemay not be a household name to ouraudience yet, but this thrilling operawill be a treat to our thousands ofBel Canto fans.”
Joseph Merrick, the Elephant ManMay 13–21, 2006The Minnesota Opera presents theAmerican premiere of Joseph Merrick,the Elephant Man in a new productionby acclaimed choreographer and di-rector Doug Varone. French com-poser Laurent Petitgirard tellsthe s to ry o f the beaut i fu l sou ltrapped by a tragic disease in a cine-matic score that is at once shimmer-
ing and tender. Originally composedfor a contralto voice, the title rolewill be sung by celebrated coun-tertenor David Walker. Christo-pher Schaldenbrand returns asD r. Tr e v e s . O n e o f M i n n e s o t aOpera’s most versatile and celebratedconductors, Antony Walker re-turns to the podium.
Joseph Merrick, the Elephant Man pre-miered in February, 2002, at theState Opera in Prague (with theFrench title, Joseph Merrick dit Ele-phant Man), and was proclaimed “am o v i n g , m o d e r n w o r k ” b yAmazon.com and “a compelling score”by London’s Sunday Telegraph. It wassubsequently staged to further ac-claim in Nice in November and De-cember, 2002, and filmed by OSFProductions for French television.
“This opera tells the story of the Ele-phant Man from his own perspective,rather than from the doctor’s as didthe famous David Lynch movie star-ring John Hurt and Anthony Hop-kins,” said Johnson. “I think this ishighly appropriate, because ulti-mately, it is the story of a beautifulsoul. It’s the characters on the out-side that distort that reality, seeingonly his disease. To highlight thisperspective, Doug Varone’s approachwill rely on movement rather thandisfiguring make-up to portray thisspirit.”
Joseph Merrick, the Elephant Man issponsored by American Express Min-nesota Philanthropic Program.
T h e M i n n e s o t a O p e r a ’ s 2 0 0 5 – 2 0 0 6 s e a s o n f e a t u r e s t w o b e l o v e d
m a s t e r p i e c e s , To s c a a n d D o n G i o va n n i , a n d t w o A m e r i c a n p r e m i e r e s ,
S a v e r i o M e r c a d a n t e ’ s B e l C a n t o t h r i l l e r , O r a z i & C u r i a z i , a n d
L a u r e n t P e t i t g i r a r d ’ s J o s e p h M e r r i c k , t h e E l e p h a n t M a n .
“The diversity of repertoire in 2005–2006 creates a bold season by any standard,” said President and CEO KevinSmith. “This is a very ambitious set of operas to produce, each bearing its own challenges and requiring a top-notchopera company for its success. We have never been more ready to take on a season like this. The Minnesota Opera iscommitted to staging repertoire from the Bel Canto and current eras, and that investment has earned us the reputationas a true industry leader.”
“This company’s energetic, innovative exploration and production of varied repertoire is a huge draw for artists,” saidArtistic Director Dale Johnson. “Whether to breathe new life into a major masterwork like Tosca and Don Gio-vanni, or the opportunity to contribute to an American premiere like Orazi & Curiazi and The Elephant Man, The Min-nesota Opera is where singers and creative artists come to make compelling opera theater.”
Favorite Classics American Premieres
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MAR. 15 - 27Ordway Center presents Say Goodnight Graciestarring Frank GorshinThe life, laughter, and love of George Burns and Gracie Allen.Main Hall $28 - $50
MAR. 15 - MAY 28Ordway Center presents My Way: A Musical Tribute To Frank SinatraDirected by Casey StanglBringing the music of “ol’blue eyes”to life.McKnight Theatre $35 - $45
TUES. MAR. 29, 8:00PMThe Schubert Club presents Alfred Brendel, piano$15 - $40
THURS. MAR. 31, 8:00PMFRI. APR. 1, 10:30AM AND 8:00PMSAT. APR. 2, 8:00PMThe Saint Paul Chamber Orchestrapresents Schubert's Dances & Mozart's Piano ConcertoChristian Zacharias, conductor/piano
SUN. APRIL 3, 2:00PMThe Minnesota Orchestra presentsFantastical Tales, with music by Franck, Liszt, and KodályGilbert Varga, conductor; Louis Lortie, piano$20 - $53
FRI. APRIL 8, 7:00PMOrdway Center presents Ball in the HouseRedefining Pop a cappella style!Main Hall $24 - $30
SAT. APR. 9, 10:30AMThe Saint Paul Chamber Orchestrapresents Family Concert: Twist of TangoMarlene Pauley, conductor
SAT. APR. 9, 8:00PMThe Saint Paul Chamber Orchestrapresents Britten's War Requiem in collaboration with The Minnesota OrchestraOsmo Vänskä, conductorHelen Donath, sopranoJames Taylor, tenorHåkan Hagegård, baritoneMinnesota Orchestra, Minnesota Chorale,Kantorei, Magnum Chorum, MinnesotaBoychoir
APR. 16 - APR. 24The Minnesota Opera presents Carmen by Georges Bizet. Seen and celebrated throughout the world, the dramatic and sexy Keith Warner production returns for one final run on its home stage. $30 - $95
ORDWAY CENTER651-224-4222 ordway.org
THE MINNESOTA OPERA651-224-4222 mnopera.org
THE SAINT PAUL CHAMBER ORCHESTRA651-291-1144 thespco.org
MINNESOTA ORCHESTRA612-371-5656 minnesotaorchestra.org
THE SCHUBERT CLUB651-224-4222 schubert.org
On stage atOrdway Center
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as the couple sat down to dinner (had he lived, Fadrique
might have posed an interesting succession dilemma, as he
and Enrique were twins).
Thrown into the mix was the mighty conflict known as the
Hundred Years War. When the heirs of Philippe IV of France
died out, his daughter, Isabelle, claimed the crown for herself.
Unfortunately, she was married to Edward II of England, and
the French didn’t relish the overlordship of their English
neighbors. So they invoked an old Frankish custom, the Salic
Law, which forbade inheritance through a female line. They
chose Philippe’s nephew and namesake as their new king, but
this didn’t stop Isabelle’s son, Edward III, from pressing his
birthright. The first decisive conflict was at Crécy in 1346,
which proved disastrous for France. Eager for a retaliation on
English soil, the French coveted Castile’s powerful navy, lead-
ing to an alliance via Philippe’s grandniece, Blanche of Bour-
bon.
Naturally, the English had their eyes on Castile as well. A
daughter of Edward, Joan, had been betrothed to Pedro, but
in 1348, she died during her voyage to Iberia. Edward’s son,
the Duke of Wales, known as the Black Prince, held court in
the southern French region of Aquitaine. Both he and Pedro
shared a common ancestor, Eleonor (as did Charles V), who
had originally brought the province into the British fold two
centuries earlier. When Enrique gained an upper hand in
Castile, forcing Pedro and his family to flee, the Black Prince
offered them refuge and troops, eventually ousting the
usurper, at least for the moment. Enrique turned to the
French king for help (using Blanche’s murder to support his
scheme) and also to Aragon, where its ruler Pere III was to
murder another claimant to the Castilian throne, his half-
brother Ferran, who was the son of Alfonso XI’s sister Leonor.
Enrique eventually seized power again, fighting Pedro to the
death in an arm-to-arm combat.
The saga was not yet over. Pedro’s children had been named
his heirs, though during the barbarous medieval age, martial
force frequently triumphed over dynastic right. Both Con-
stanza and Isabella had survived their father and were still
under the protection of England. The Black Prince was dead,
but his brother, John of Gaunt, Duke of Lancaster, took over
the management of Aquitaine and began to view Constanza as
a way to seize the crown of Castile for himself. The resulting
marriage was hardly a love match, but a tactical maneuver
beneficial to both sides. To doubly seal the deal, he married
off her sister Isabella to his brother Edmund. Eventually en-
listing the side of Portugal, Lancaster married his daughter by
his first wife, Philippa, to King João I of Portugal (whose half-
brother, Fernando I also had had a claim to the Castilian
throne as the closest male relative by way of his great grandfa-
ther Sancho IV – to strengthen his position, he had married off
his daughter Beatris to Enrique’s son Juan I). Not surpris-
ingly, the constant intermarriages between the houses of
Castile, Portugal and Aragon yielded multiple dynastic sce-
narios and as many problems as the royal bastards. After yet
another military campaign led by Lancaster in the wake of
Enrique’s death, the situation would finally be settled with
the marriage of Juan’s son and eventual successor, Enrique III,
to Constanza and Lancaster’s daughter, Catalina. Juan II, the
son of Enrique III and Catalina, fused the blood of the oppos-
ing sides, and one generation later, Spain would be united by
the marriage of cousins Ferdinand and Isabella, but not before
two more civil wars, one for the crown of Aragon, by Ferdi-
nand II’s grandfather (and Catalina’s brother-in-law) Ferdinand
I (those politics surround Verdi’s Il trovatore), and Isabella’s
own struggle to wrangle the Castilian throne from her half-
brother Enrique IV. Back in England, Lancaster’s son Henry
would usurp the crown from his cousin Richard II, initiating
the infamous War of the Roses. Henry IV’s son, Henry v,
would be victorious at another major French defeat at Agin-
court, wresting the French crown (for the time being) from
the addle-minded son of Charles v. A century later the rival
houses would be tidily reunited by the birth of Henry VIII,
who took for his first wife Catherine, the daughter of Ferdi-
nand and Isabella. France would be appeased by the marriage
of Henry’s sister Mary to Louis XII.
Continues from page 15
Literary Traditions
Though not especially familiar to modern audiences,
the plight of Pedro the Cruel has received a fair
amount of literary treatment throughout the ages, at
first with the romanceros, Trastámaran propaganda
spread by the opposing side. It is here we get accounts
of María de Padilla’s conniving nature and blood-
thirstiness as well as rumor of Pedro’s murdering
Blanche and Fadrique as punishment for supposedly
having a love child together. Pedro was also accused of
being the illegitimate child of María of Portugal and
fellow countryman Juan Alfonso, Duke of Albu-
querque. Pero Lopez de Ayala gives a contemporary
account in his La crónica del Rey Don Pedro. In the 17th
century, Félix Lope de Vega wrote Las audiencias delRey Don Pedro, inspiring Jose Zorrilla to later write Elzapatero y el rey in 1840, and Spain’s other literary
giant, Pedro Calderón de la Barca, wrote Médico de suhonra on the same subject. In France, Laurent du Bel-
loy (whose works served as a source for Rossini’s
Zelmira and Donizetti’s Gabriella di Vergy) wrote Pierrele Cruel in 1772, Voltaire published his setting of the
tale as Don Pèdre, roi de Castille in 1774 and Alexandre
Dumas père’s Pierre le Cruel appeared in 1839. A most
interesting historical account is Prosper Mérimée’s
Don Pèdre I, which first appeared in the Revue des Deux-Mondes (1848), his interest in all things Spanish ex-
pressed in Carmen just a few years earlier, to be set to
music by Georges Bizet in 1875.
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NANCY MEEHAN4C
Upcoming EventsAre you a 20- or 30-something who’s curious about opera? Looking forsomething new and fun to look forward to? Join other young professionals forthe hottest ticket in town — The Minnesota Opera’s Young ProfessionalsGroup!
The low-cost YPG membership (only $30 per season) entitles members togreat seats at the Opera for rock-bottom prices, as well as pre-opera cocktailparties and special events throughout the season.
Noche de SalsaFriday, April 1 at The MinnesotaOpera Center
Opera Nights Out: Maria Padilla, March 12Carmen, April 23Nixon in China, May 21To join, visit www.mnopera.org or email us at
Cultivating a new generation of opera-goers in the Twin Cities
Great Waters is the official venue for Opera Nights Out
photo by Barbara Willis