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Contents

The Minnesota Opera

President & CEO Kevin SmithArtistic Director Dale Johnson

Chair, Board of Directors Jane M. Confer

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.

The Minnesota Opera Programis published by

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

Account Executives Liesl Hyde, Amy NewtonCreative Designer Stacy Harwood

Graphic Designers Sue Sentyrz Klapmeier, Robert Ochsner

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.

January 2008

Large-print and Braille programs are available at the Patron Services Office

The Minnesota Opera Staff and Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . 6Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Romeo and Juliet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Charles-François Gounod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Coming Up: The Fortunes of King Croesus . . . . . . . . . . . . . . . . . . . . . . . . 14Out at the Opera Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15The Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . . . 202008-2009 Season Announcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Education at the Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Young Professionals Group Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

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MINNESOTA OPERA Staff

MINNESOTA OPERA Volunteers

Welcome to today’s production of Romeo and

Juliet. For more than four decades, TheMinnesota Opera has enriched the cultural lifeof our community by producing outstanding andinnovative operas that inspire and entertain.

U.S. Bank is honored to sponsor the 2007 –2008 season. We are proud of our 20+ yearrelationship with The Minnesota Opera and thespectacular Ordway Center in St. Paul.

At U.S. Bank, we support great dreams, great art and great arts organizations. They enrich thecommunity with vibrancy, creativity and excellence. As the sixth largest bank in Americatoday, U.S. Bank is the only major bank headquartered in Minnesota, and we’re deeplycommitted to giving back to this community.

Thank you for coming and enjoy the performance!

Rod Boren, Senior Vice President, Personal Trust Regional Manager, U.S. Bank Private Client Group Jose Peris, Senior Vice President, Private Banking Regional Manager, U.S. Bank Private Client Group

President & CEO Kevin SmithArtistic Director Dale Johnson

ArtisticArtistic Administrator . . .Roxanne Stou∂er CruzArtist Relations and

Planning Director . . . . . Floyd AndersonDramaturg . . . . . . . . . . . . . . . David SanderPrincipal Conductor-in-Residence

. . . . . . . . . . . . . . . . . . . . . . .Robert WoodAssociate Conductor-in-Residence

. . . . . . . . . . . . . . . . . .Andrew AltenbachResident Artists . . . . . . . . . .Kyle Albertson,

Alison Bates, John David Boehr,Andrea Coleman, Christin-Marie Hill,

Christopher Job, Bryan Lemke,Jamison Livsey, Bill Murray,

Christian ReinertRAP Faculty . . . . . . . . . . . . . .Nancy Boler,

Carlotta Dradi-Bower, Mary Dibbern, Barbara Kierig, Doug Schulz-Carlson

Master Coach . . . . . . . . .Mary Jo Gothmann

EducationCommunity Education Director . . . . . . . . . . . . . . . . . .Jamie AndrewsTeaching Artist . . . . . . . . . .Vicki FingalsonProject Opera Music Director . . . Dale KruseProject Opera Accompanist . . .Kathy KraulikEducation Intern . . . . . . . . . . . .Molly Sonstag

ProductionProduction Director. . . . . . . Kevin RamachProduction Stage Manager . . . . Alex FarinoAssistant Stage Managers . . . .Casey Martin,

Angie SpencerProduction Admin Asst. . Katherine Cattrysse

CostumesCostume Shop Manager . . . .Erica M. BurdsAssistant Costume Shop Manager . .Beth SandersDrapers . . . . . . . . .Chris Bur, Yancey Thrift,

Angela Yarbrough Costume Technicians . . . .Helen Ammann,

Jennifer Dawson, Mary Farrell, Rose Ryan, Lindsey Strange

Wig Assistant . . . . . . . . . . . . .Molly Weinreb

SceneryTechnical Director . . . . . Mike McQuistonProperties Master. . . . Stanley D. HawthorneProperties Assistant . . . . . . . . . Mike LongAssistant Lighting Designer . . Sol WeisbardLighting Coordinator . . . Charles D. CraunProduction Carpenter . . . . . . . . . JC AmelScene Shop Foreman . . . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . .Steven RovieCarpenters . . Nate Kuulenkamp, Eric Veldey,

Paul Spevacek, Dan ZimmermannCharge Painter . . . . . . . . Kevin Noteboom

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

Manager . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . . . Jennifer ThillExecutive Assistant . . . . . . . Theresa MurrayFinance Assistant . . . . . . . . . . . . . . .Libby JonesIT Applications Specialist . . . . . .Jessica Wright

Institutional AdvancementVice President of Institutional

Advancement . . . . . . . . . . .Patrick DewaneInstitutional Advancement

Manager . . . . . . . . . . . . . .Kelly Clemens

DevelopmentAnnual Fund Director . . . . . . .Dawn LovenGrants Manager . . . . . . . . . . .Beth ComeauxDonor Events and

Gala Manager . . . . . . . . . . .Emily SkoblikIndividual Gifts Manager . . . . . .Morgan Walsh

Marketing/CommunicationsMarketing and Communications

Director . . . . . . . . . . . . . . . . . .Lani WillisMarketing Operations

Manager . . . . . . . . . . . . . . . Marsha WalkerAudience Development Associate . . Jamie NiemanTicket O∑ce Manager . . . Katherine CastilleTicketing and Communications Associate . . . . . . . . . . . . . . . . . . Robert SchmidtTicket O∑ce Assistants . . . .Kendra Ramthun,

Kristen Bond, Alexandrea KouameMarketing Intern . . . . . . . . . . . . . .Sara Schweid

The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera. If youwould like to learn more about volunteering for The Minnesota Opera, please contact Jamie Nieman by phone at612-342-9550 or via email at jnieman@mnopera.org.

Catherine AhernAnn AlbertsonGerald BensonJim BrownbackJerry CassidyDiane ChoihJoann CierniakSusan CoggerCaroline CoopersmithBeverly DaileyDenis DaileyJeanette DaunJudith DuncanSally EconomonChristopher FosterHazel FrancoisLi-Jun FuJane FullerJoan Gacki

Christine A. GarnerMary E. HagenMerle J. HansonAnne HesselrothHeather HuberKaren JohnsonNancy JohnsonSteve JohnsonJeannie JohnstonKristen JohnstonRobin KeckDawn KlassenEleanore KolarLucinda LamontShirley LarsonMathilda LienJerry LillquistJoyce LillquistMargery Martin

Joan MasuckYasuko MatsumotoMary McDiarmidBeth McGuireVerne MelbergJeanette MiddletonBarbara MooreDoug MyhraPam NielsenCandyce OsterkampDan PanshinPat PanshinMegan PelkaBill PhillipsSydney PhillipsJulia PorterCarol PurvisKathleen RileyEnrique Rotstein

John SauerLynette SaucierMichael SilhavyWendy SilhavyAngie SolomonWendi SottNaomi St. GregoryKaren St. JohnHarry SwepstonDave TerwilligerEmily ThompsonDoris UngerStacey VonderhearCarolyn WahteraSandy WalkerMary WeitzBarbara Willis

Welcome to The MinnesotaOpera’s first production ofRomeo and Julietsince 1990. I’mpleased to haveyou here to share

this performance.

Although we are only halfwaythrough the current season, we have just announced our 2008-2009line-up (see page 21 for details).Many of you are subscribers to theOpera and will see your renewalnotices very soon. Thank you foryour continued commitment!Many of you are new to the opera,and if you enjoy this performance,

I encourage you to consider seasontickets next season. It’s the onlyway you are guaranteed the bestseats and the best prices, as someseating areas and packages sell out before the season opens. Tolearn more about subscribing next season, visit the subscriptiontable in the lobby today, or visitwww.mnopera.org anytime.

Enjoy the performance.

Kevin Smith, President and CEO

Welcome to Romeoand Juliet!

While it’s always a thrill to create anew production,that excitement isonly heightened

with the energy of a dream-team ofhot young talent. It is a homecomingfor several young artists, includingtenor James Valenti (Roméo),baritone Kelly Markgraf (Mercutio)and mezzo-soprano Adriana Zabala(Stéphano). This opera also markssome significant debuts, includingAnoka native Ellie Dehn as Julietteand Christian Reinert, who will singRoméo on Sunday opposite AlisonBates. Be sure to read more aboutthem all online at www.mnopera.org.

Director David Lefkowich has createda production that echoes the romanceof the world’s most famous love story.Jennifer Caprio’s costumes evoke the drama’s Renaissance origins, theElizabethan forms of Shakespeare’stime and are richly imaginative in a way that suggests the story’s timelessness. Erhard Rom’s setssuggest Italy’s past and present, butalso create an emotional space thatresponds to the lush romanticism ofGounod’s music and reinforcesRomeo and Juliet as everyone’s lovestory. I hope you enjoy the opera.

Dale Johnson, Artistic Director

NOTES FROM THE Leadership

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BOARD OF DirectorsFROM THE Artistic Director

FROM THE President

OfficersJane M. Confer, Chair

Chip Emery, Vice ChairDebra Paterson, SecretaryDenver Gilliand, Treasurer

Kevin Smith, President & CEO

Directors

EmeritiKaren BachmanBurton Cohen

Julia W. DaytonThomas R. McBurney

Mary W. Vaughan

Honorary DirectorsDominick Argento

Philip BrunelleElizabeth CloseDolly Fiterman

Charles C. FullmerNorton M. Hintz

Liz KochirasPatricia H. Sheppard

Legal CounselJames A. Rubenstein, Moss & Barnett

Martha Goldberg AronsonWendy BennettCharles E. BergJ. A. Blanchard IIIShari BoehnenSusan S. BorenKathleen CallahanNicky B. CarpenterRichard P. CarrollRachelle D. ChaseMary A. DearingSara DonaldsonSteve FoxSharon HawkinsRuth S. Huss

Philip IsaacsonLucy Rosenberry JonesB. John LindahlDiana E. MurphyBrian E. PalmerJodi D. PetersonMary Ingebrand PohladStephanie J. PremElizabeth RedleafConnie RemeleStephanie SimonPeter W. SipkinsMitchell StoverVirginia StringerH. Bernt von Ohlen

The Minnesota Opera is proud to be a member of The Arts Partnership with The Saint PaulChamber Orchestra, The Schubert Club and Ordway Center for the Performing Arts.

Northern Trust B

anks are mem

bers FDIC

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orthernTrust C

orporation.

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Imagine the world without music and dance, or literature and art. Life isincomplete without ways to express ourselves, and to discover who we areand what we can be. That’s why Northern Trust proudly supports the arts inits many diverse forms.

Northern Trust has been helping clients meet their financial needs formore than 118 years.

THE ARTS ALLOW US TO DISCOVER WHO WE CAN BE

Tom Smith, President & CEO – Minnesota • 612-336-70201600 IDS Center • Minneapolis

ON STAGEMARCH 11 - MAY 18Ordway Center Theater Season Blues in the NightFollow three remarkable women and onesnake of a guy as they weave their stories of love and loss through the music of blues and jazz legends.McKnight Theatre

THURS., MARCH 13, 8pm The Schubert ClubInternational Artist Series Lang Lang, piano

FRI., MARCH 14, 10:30am; MARCH 14 - 15, 8pm The Saint Paul Chamber Orchestra Boyd conducts Schumann and DebussyDouglas Boyd, conductorSteven Copes, violin

MARCH 18 – MARCH 30 Ordway Center Theater SeasonThe Drowsy ChaperoneThe 2006 Tony Award® winning musical that boldly bursts to life with laughter!

APRIL 4 - 5, 8pm The Saint Paul Chamber Orchestra Dawn Upshaw Sings 20th Century ClassicsReinbert de Leeuw, conductorDawn Upshaw, soprano APRIL 12, 15, 17, 19, 20 The Minnesota OperaRusalka by Antonín DvorákThe Little Mermaid without the Disney ending.

WED. APRIL 23, 8pm The Schubert ClubInternational Artist Series Bryn Terfel, bass baritone

APRIL 24, 26, 8pm The Saint Paul Chamber Orchestra Dawn Upshaw Sings SchubertDouglas Boyd, conductorDawn Upshaw, soprano

MAY 2 – MAY 18 Ordway Center Theater Season CabaretBehind the doors of the notorious Kit Kat Klub, painted ladies (and painted gentlemen) sing and dance as though life were anendless party.

FRI., MAY 23, 10:30am; MAY 23 - 24, 8pm The Saint Paul Chamber OrchestraBeethoven’s Triple ConcertoPierre-Laurent Aimard, conductor and pianoRuggero Allifranchini, violinRonald Thomas, cello

ordway.org

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Season Subscriptions on sale now. Weekender packages available.

515-961-6221 or www.desmoinesmetroopera.org

Des Moines Metro Opera36TH FESTIVAL SEASON

June 20 - July 13, 2008Indianola, Iowa

Verdi’s

Blitzstein’sDonizetti ’s

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The appearances of James Valenti, winner; Ellie Dehn, grand finalist; Alison Bates and John David Boehr, regional finalists; and Kyle Albertson, Kory Bickel,

John David Boehr and Christopher Job, district finalists of the Metropolitan OperaNational Council Auditions, are made possible through a Minnesota Opera

Endowment Fund established for Artist Enhancement by Barbara White Bemis

The appearances of Kyle Albertson, Alison Bates, John David Boehr,Christin-Marie Hill, Christopher Job and Christian Reinert are made possible

by the Virginia L. Stringer Endowment Fund for The Minnesota Opera Resident Artist Program.

Performances of Romeo and Juliet are being taped for delayed broadcast on Minnesota Public Radio, KSJN 99.5 in the Twin Cities.

The Minnesota Opera season is sponsored by FAF Advisors and U.S. Bank.

The appearances of the 2007–2008 season conductorsare underwritten by SpencerStuart.

Opera Insights is sponsored by Thrivent Financial for Lutherans.

Camerata Dinners are sponsored by Lowry Hill PrivateAsset Management.

Music by Charles-François GounodLibretto by Jules Barbier and Michel Carréafter the play by William ShakespeareWorld premiere at the Théâtre Lyrique, ParisApril 27, 1867

January 26, 29, 31, February 2 and 3, 2008Ordway Center for the Performing Arts

Sung in French with English translations

Conductor ....................................................Ari Pelto*

Associate Conductor-in-Residence ......Andrew Altenbach**

Stage Director and Choreographer ............David LefkowichSet Designer ..............................................Erhard RomCostume Designer ..................................Jennifer CaprioLighting Designer ....................................Steve TenEyckWig Master and Makeup ................................Jason AllenAssistant Director ........................................Bill MurrayChorus Preparation..............................Andrew AltenbachProduction Stage Manager......................Alexander FarinoFrench Diction Coaches ........Mary Dibbern, Peter RobinsonEnglish Captions ......................................Dale Johnson

THE CASTRoméo, son of Montague ..........................James Valenti*

Christian Reinert**

Juliette, daughter of Capulet ..........................Ellie Dehn*

Alison Bates**

Frère Laurent ........................................Christopher JobMercutio, friend to Roméo ......................Kelly Markgraf*

John David Boehr**

Stéphano, page to Roméo ........................Adriana ZabalaCapulet ................................................Kyle AlbertsonTybalt, nephew of Lady Capulet....................Brian ArreolaGertrude, nurse to Juliette ..................Christin-Marie HillThe Duke of Verona ......................................Kory BickelPâris, a young count ..................................Nathan BrianGrégorio, servant to Capulet ....................Roy KallemeynBenvolio, nephew of Montague ....................Ben Johnson

Male and female retainers and kinsfolk of the House of Capuletand the House of Montague, party guests, residents of Verona

* performs January 26, 29, 31, February 2** performs February 3

The scenic and costume designs for this production are made possiblewith the support of the Dolly Fiterman Fund for Opera Design.

T hough Faust would become Charles Gounod’s mostenduring work, Roméo et Juliette was his onlyuncontested triumph during the composer’s lifetime.

Gounod became acquainted with the Italian version, Giuliettae Romeo, at the Villa Medici during his Prix de Rome stay inFlorence as well as the symphonic poem by Hector Berlioz(which he had seen as young man) and had the story in theback of his mind for many years. When the offer came fromLéon Carvalho, the Théâtre Lyrique’s impresario, for an operato be included as part of the 1867 Exposition Universelle, thecomposer knew the competition would be stiff. The ParisOpéra had engaged Giuseppe Verdi to write Don Carlos andJacques Offenbach’s Bouffes-Parisiens could be counted on

BACKGROUND Notesby David Sander

Romeo and Juliet is sponsored by

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for a hit – and the resulting La Grande-Duchesse de Gérolstein didn’t fail to please.

Fortunately, the indefatigable librettistteam of Jules Barbier and Michel Carréwould once again work their magic [theyhad also written the words for Faust (1859)and would do so again for AmbroiseThomas’ Hamlet (1868) and JacquesOffenbach’s Les contes d’Hoffmann (1881),among others]. The two collaborators hadan excellent resource at their disposal. By the 18th century, William Shakespeare’sdramas had made it to the continent butoften were presented in poor translationsand in altered form. Jean-François Duciscreated French variations of Hamlet and Romeo and Juliet that barely resembledtheir predecessors (imagine the formerwith no ghost, gravediggers and fencing,the latter with no dueling and balconyscene, or Othello without Iago) and thattradition continued until the early 19th century when Alfred de Vigny triedto clean things up a bit. Dating from1839, Berlioz’s dramatic symphonypresented a somewhat abstract version of the Bard’s epic love story (based onanother bastardization created by 18th-century English actor-impresarioDavid Garrick, which he saw in 1827),and though François-Victor Hugo finallycreated a faithful translation of the playonly a few years before Gounod’s operapremiered, it’s not absolutely certain thelibrettists bothered to use it.

In addition to the economization of alengthy and complex play into a musicaldrama, Barbier and Carré had to conformto the operatic requirements of the day.Audiences would have expected a big andsplashy opening, so Shakespeare’s firstfour scenes that set up the family feud[the brawling in scene one, Romeo’sinfatuation with Rosaline (scenes two andfour) and Juliet’s impending wedding(scene three)] are all rolled into a fancyball at the Capulet palace. Mercutio’sQueen Mab speech found its way into aballade and Juliet’s indifference tomarriage became the sparkling waltz aria“Je veux vivre.” Other small changes inAct I included the exact manner thecouple discovers each other’s family roots(Juliette from Tybalt and Roméo fromJuliette), the timing of Tybalt’s discoveryof Roméo’s identity (at the end rather

than the beginning of the scene) and theomission of Capulet subduing hisnephew’s subsequent rage (a traditionalcut). French taste dictated the inclusion ofa musico pants role (much like Siébel inFaust and Thibault in Don Carlos) to depictthe young page Stéphano, a character notfound in Shakespeare. In Act II, we areintroduced to him by way of a stagedirection as he helps hoist Roméo into theCapulet garden (this does not occur in the original play) and by Act III he sings a chanson of double-entendres, irritating hisCapulet enemies. Act II also includes ashort exchange between Grégorio andGertrude during which he suspectsMontagues have infiltrated the Capuletgrounds. Both of these encounters echo thestreet violence Shakespeare employs at thebeginning of his play, and the resultingduels of Act III segue neatly out ofStéphano’s insolence.

Before we get to the climactic peak ofthe five-act drama, there has to be awedding. Once again, the librettistspandered to their bourgeois audience byconflating two scenes from the play (2.3;2.6) and expanding them into an extendedwedding ceremony, something we don’tget to see in Shakespeare. Juxtaposed withthis happy moment, the second scene ofAct III ends in brutality with the onstagedeaths of Tybalt and Mercutio (again,according to the stage directions – in theplay Mercutio dies offstage). The sceneends with the duke personally banishingRoméo (Shakespeare has the impulsiveyoung man run off before the crowdassembles). There is no impassioned rebukefrom Lady Capulet, who along with hermortal enemies, the elder Montagues, iscompletely absent from the opera.

Act IV is an abbreviation of several morescenes. Of course, the librettists had toinclude the famous lark/nightingalewedding night/morning scene. Tybalt’sdying wish to be avenged, as we learn inAct IV from Capulet (also not in the play),is for Juliette to marry Pâris, thus settinginto motion the sudden and impendingwedding (sadly, we miss Shakespeare’sconstantly chattering Nurse’s recklessadvice for her to go ahead and have twohusbands) – in Shakespeare’s drama, theunion is only intended to assuage Juliet’sgrief. Frère Laurent’s quick fix gets us to �

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BACKGROUND Notes

Act I – The Capulet Ball

Act II – Juliette’s Garden

Act III – Frère Laurent’s Cell

Act IV – Juliette’s Bedroom

Act V – The Capulet TombSet Design by Erhard Rom

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BACKGROUND Notes

the “potion aria” (“Amour ranime mon courage”), one of the most dramatic moments of the entire opera. Yet it wasomitted for many years – the first Juliette, Madame MarieCaroline Miolan Carvalho, found the piece too difficult, andbeing the impresario’s wife, demanded quite late in therehearsal process a more colorful ariette, “Je veux vivre,” toshowcase her own special talents. Rather than “dying” in her sleep, Gounod’s Juliette has a far more public collapse on her way to the altar, yet one more grand spectacle inthe piece expected by the Parisians. (An obligatory balletwas inserted near this point for the fourth version of Roméo et Juliette, presented at the Paris Opéra in 1888.)

The act concludes with a brief exchange (frequentlyomitted) between the frères concerningthe delivery of Laurent’s letter toRoméo. Rather than being detainedby the plague as in the play, FrèreJean reports that the communiquéwas entrusted to Stéphano, who wasset upon by angry Capulets, thusfailing him of his charge. Barbier andCarré chose to eliminate Balthasar(Stéphano’s Shakespearian inspiration)and his Mantuan mission to informRomeo of Juliet’s reported death. The dark scene with the creepyapothecary, where Romeo buys hispoison, is gone and also omitted ismuch of the play’s final tableau:Romeo’s duel with Paris (whom we haven’t seen since the opera’s Act 3.2, a moment in which hedoesn’t appear in the play); Lawrence’spresence at, then fearful exit from the burial crypt; his owning up toeverything after having been caught;and the Prince’s final pronouncementat the end of the drama. Gounod’sAct v is devoted exclusively to the two lovers – in line withthe public’s expectations, Juliette revives before Roméoexpires and they share a final tender duet. Suicide being amortal sin in the eyes of the opera’s mostly Catholic audience,their last words are for God’s forgiveness and the orchestra’scelestial harp in the concluding bars seems to imply the twolovers’ souls are together, reunited in a better place.

Gounod’s finale runs contrary to Shakespeare’s, whichincluded a further dash of irony in his story of “star-crossedlove” when Juliet awakens to find Romeo already dead. As we have seen, the composer was familiar with the Italian rootsof the story, which had been set to music many times, mostfamously as Vincenzo Bellini’s I Capuleti ed i Montecchi andworks by Niccolò Zingarelli and Nicola Vaccai, all of whichemploy Gounod’s ending. As it turns out, both play and operashare that common Italian literary ancestor in Luigi da Porto’sGiulietta e Romeo, which was adapted from a slightly earlier

source, a segment from Masuccio Salernitano’s 15th-century Il novellino. In da Porto’s version, the setting is changed fromSiena to Verona and the lovers are aristocrats. The families,the Montecchi and the Capelletti, representatives of the real-life perpetually hostile Guelphs (loyal to the Pope) andGhibellines (loyal to the Holy Roman Emperor), are firstnamed. The next incarnation, by Matteo Bandello, made itsway to France in the 1540s. His Romeo e Giulietta has adidactic bent, advising young people to “tame passions led byfurious desires.” (In a fortunate improvement, Giulietta diesof a broken heart rather than by simply holding her breath.)A French version of Bandello was fleshed out by PierreBoaistuau and translated into English by William Painter as

part of The Palace of Pleasure. Inaddition to several small changes,including Juliette’s expiration by wayof Roméo’s dagger, Boaistuauintroduced the modification of thefinal scene with Roméo and Juliette’sill-timed suicides. This innovationwas then passed on to Shakespeare viaArthur Brooke’s poem The TragicallHistorye of Romeus and Juliet, hisprincipal source.

Brooke stressed the everpredictable Wheel of Fortune in his relatively static verse. ThoughShakespeare preserved much of thepoet’s structure, he did make severalimportant changes, in most waysimproving upon the narrative. Hisintent was to fashion a tragedy ofcircumstances (though some saythose events occur in an implausiblesuccession) with fate as a menacingagent. Time becomes a critical factor– Shakespeare condensed Brooke’sseveral month affair to a mere four

or five days in the sultriness of Verona in mid-July.Everything is in a rush as urgency becomes the norm –evenings and mornings meld, there are frequentinterruptions and no one gets any rest until it becomeseternal – the drama is compressed into a very passionateand memorable one-night stand.

Within this highly tense climate, Romeo and Julietconsistently make the wrong choices whenever faced with adifficult challenge. Romeo could listen to Lawrence’s adviceearly in the drama – with Cassandra-like foreshadowing, hewarns him of love’s dangers – but the young man follows hisheart, and a union between the two lovers is hastily made.When confronted with the death of his friend, he could waitfor the law to mete its punishment, but instead chooses tofinish Tybalt off. This slaying marks a turning point fromwhich there is no going back – Capulet and Montague, bothgetting older, saw the potential for peace, seconded by �

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Romeo and Juliet (final scene) by William Hatherell© Bristol City Museum and Art Gallery courtesy of The Bridgeman Art Library

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A chorus laments the ongoing feud between the houses of Capuletand Montague.

A C T I

In the grand hall of the Capulet palace,party guests assemble for Juliette’sdebut as her cousin Tybalt and hersuitor Pâris praise her beauty. Capuletpresents his daughter to everyone’sdelight. The crowd includes adisguised Roméo, Mercutio, Benvolioand others associated with theMontagues. Mercutio chides hisfriend’s melancholy, for Roméo’sromantic pursuit of the fair Rosalinehas yielded nothing – she is not at theparty. Meanwhile, Juliette’s nurseGertrude is excited about her charge’spotential marriage, but the younggirl will have none of it, preferring acarefree life. The lovelorn Roméospots Juliette, and not knowing sheis a Capulet, immediately falls inlove. She returns his affection, buttheir short-lived bliss is interruptedwhen it is revealed that the newlovers belong to rival houses. Tybalthas recognized Roméo and promisesto avenge this affront to theCapulets’ honor.

A C T I I

The page Stéphano assists Roméo inscaling a wall outside Juliette’srooms, where Roméo and Juliettesoon share a tender moment.Grégorio and other Capulets areheard in the distance, looking for thedisruptive Montagues, and Roméohides in the darkness of the garden.After speaking with Grégorio aboutthe intrusion, Gertrude encouragesJuliette to go to bed, but the younggirl tarries outside, where the twolovers are soon reunited. Juliettesuggests they marry the very next dayand Roméo heartily accepts her offer.

– INTERMISSION –

A C T I I I

In the cell of Frère Laurent, themonk celebrates the couple’s unionwhile Gertrude serves as a witness.Elsewhere in Verona, Stéphanotaunts the Capulets with a song.Mercutio defends the young boyfrom Grégorio’s blade, but is soondrawn into a disagreement withTybalt. When a freshly-marriedRoméo happens upon the scene,Tybalt turns his attention to hisenemy, but Roméo merely embraceshim as kin. Mercutio draws Tybaltinto a duel, and in the ensuingmelee, is mortally wounded. Nowenraged over the death of his friend,Roméo slays Tybalt and is banishedfrom Verona as a result.

– INTERMISSION –

A C T I V

As day breaks, the two lovers awakenafter a night of passion. Juliettepardons Roméo for the murder of hercousin, and the two languish in bed,refusing to greet the day. But Roméomust leave, and moments after hisdeparture, Gertrude enters, followedby Capulet and Frère Laurent.Angered by recent events, Juliette’sfather demands she marry Pârisimmediately. Left alone with Laurent,she tearfully comes to terms with hersituation, and the monk offers a cureto end her woes – a special potionthat will simulate death. Once placedin the family crypt, she will revive inRoméo’s waiting arms.

A C T V

Having missed a letter revealingLaurent’s plan, Roméo has heard ofJuliette’s “death,” and now insidethe family vault, laments over herlifeless body. Wishing to join her ineternity, he empties a phial ofpoison, but as the toxin takes effect,Juliette begins to wake. The loversshare a final moment before Juliettestabs herself with a dagger, and theydie in each other’s arms.

Costume Design by Jennifer Caprio

Synopsis

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CHARLES-FRANÇOIS Gounodb Paris, June 17, 1818; d St. Cloud (France), October 18, 1893

Charles-FrançoisGounod emergedas one of the

leading figures inFrench music duringthe latter part of the19th century.Although thecomposer neverachieved the titanicstature of Wagner orVerdi, Gounod’sopera Faust oncerivaled in popularitysome of their mostsuccessful works.

The young composer showed early artistic talent, but his parentswere determined that he study law.Gounod’s preference for musiceventually won, and at the age of 16,the rebellious teen began the officialpath of a typical 19th-centurycomposer in France.

At the Paris Conservatoire,Gounod studied with Halévy, LeSueur and Reicha. Winning the Prixde Rome in 1839, he embarkedupon a two-year study in Italy,during which the composer firstbecame familiar with the Faust andRomeo legends.

Returning to France, Gounodquickly obtained a position in amission church but was fortunate tobefriend an influential soprano,Pauline Viardot, who maneuvered acommission for him from the ParisOpéra: Sapho. Set to a libretto byÉmile Augier, it was a succès d’estime –but not a huge box-office draw. Saphowas dropped after six performances.

Still, a debut at Paris’ leading operahouse gave the composer a certaincachet, and Gounod was offeredsubsequent commissions from theOpéra, La nonne sanglante and Ivan leterrible. Unfortunately, the composer’ssecond opera was only marginallymore successful than the first, and theIvan project was canceled after anattempt had been made on FrenchEmperor Louis-Napoleon’s life (thelibretto contained a similar plot of

regicide). Gounod’sfate at the Opéra wasplaced in limbo.

Meanwhile, LéonCarvalho, new directorof the ThéâtreLyrique, courted thecomposer with theprospect of producingFaust. It was soondiscovered anothertheater, the Théâtre dela Porte-St-Martin,had planned anextravagant spectaclebased on the Goethe

play, and Gounod’s Faust had to beput on hold. The impresario tried toappease the composer with a comiclibretto, Le médecin malgré lui, basedon text by Molière.

Although the libretto was beyondreproach and the music criticallywell-received, Le médecin again did notprove successful. In the meantime,the St. Martin theater had postponedits production of Faust, and Carvalhogave Gounod the go-ahead tocomplete his opera. Its resoundingsuccess in France and all over Europeelevated Gounod to a composer ofinternational acclaim.

Over the next few years, Gounodproduced four more operas: Philémon etBaucis, a mythological comedy (that tried to capitalize on JacquesOffenbach’s hugely successful Orphéeaux enfers); La colombe, an opéra comiqueabout an impoverished nobleman’sattempts to win the heart of a wealthycountess; La reine de Saba, anothercommission from the Opéra based onthe biblical tale of Solomon and theQueen of Sheba; and Mireille, a lovestory set in southern France. None ofthese works ever achieved the specialappeal of Faust, although Mireillebecame a staple of the Opéra-Comique’s repertory for many years.The composer’s life began to unravel –his unsteady career was plagued byclaims of Wagnerism by the Frenchpress as a result of his association withthe German composer. A nervous �

CHARLES GOUNOD by Charles Emile Carolus-Duran

Réunion des Musées Nationaux / Art Resource, NY

GOUNOD CONTINUED ON PAGE 27

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TBD

Kyle AlbertsonCapulet

Minnesota Opera Resident ArtistRecently

The Italian Girl in Algiers; A Masked Ball; The Marriage of Figaro; Lakmé; The Tales of Hoffmann;

La donna del lago, The Minnesota OperaIl matrimonio segreto, Merola Opera Program

Nixon in China; A Midsummer Night’s Dream; Le nozze di Figaro; Finding Yolanda, Chicago Opera Theater

Carmen; Giasone; The Cunning Little Vixen; Rigoletto, Aspen Opera Theater Center

Alison BatesJuliette

Minnesota Opera Resident ArtistRecently

Gianni Schicchi; The Gondoliers; Tosca, Chautauqua OperaItalian Girl; Lakmé; Tales of Hoffmann; La donna del

lago; Don Giovanni; Elephant Man, Minnesota OperaA View from the Bridge; Abduction from the Seraglio; LittleWomen; Giulio Cesare, Indiana University Opera Theater

Symphony No. 2; Israel in Egypt, Columbus Indiana Phil.Gianni Schicchi, MasterWorks Festival (Young Artist)

UpcomingRusalka, The Minnesota Opera

John David BoehrMercutio

Minnesota Opera Resident ArtistRecently

Trinity, Santa Fe OperaL’Ormindo, Pittsburgh Opera Center

Tosca; Don Pasquale; La Cenerentola, Palm Beach OperaDie Zauberflöte; Barnum’s Bird; L’elisir d’amore;

Così fan tutte, Baylor Opera TheaterDon Giovanni, Tanglewood Music Festival

UpcomingThe Fortunes of King Croesus; Rusalka,

The Minnesota Opera

Nathan BrianPârisMinnesota Opera DebutA Masked Ball, 2007RecentlyLa bohème, Theater Latté DaMadama Butterfly; Halka, Sarasota OperaTrouble in Tahiti; Candide; Diaries of Adam and Eve;

Die Zauberflöte; La Cenerentola, Pine Mountain OperaJackie O; Tartuffe, University of MichiganThaïs; The Merry Wives of Windsor, Utah Lyric Opera

Brian ArreolaTybaltMinnesota Opera DebutRecentlyDes Moines Metro Opera Apprentice ArtistLa bohème; Rigoletto; Too Many Sopranos; Manon; Roméo et

Juliette, Indiana University Opera and Ballet TheaterThe Magic Flute, Opera Twin CitiesUpcomingLes contes d’Hoffmann; Troilus and Cresida (cover),

Opera Theatre of St. Louis

Kory BickelDuke of VeronaMinnesota Opera DebutThe Tales of Hoffmann, 2006RecentlyThe Magic Flute; Don Pasquale; The Barber of Seville,

Utah Symphony & OperaGloriana; Roméo et Juliette, Opera Theatre of St. LouisHansel and Gretel, Des Moines Metro OperaRoméo et Juliette; La Cenerentola; Il turco in Italia; Don Pasquale;

Don Giovanni, Indiana University Opera TheaterElijah; Corps of Discovery; Die Fledermaus; Così fan tutte,

University of Missouri – Columbia

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THE ArtistsFor more biographical information about these artists,visit our website at www.mnopera.org

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Christopher JobFrère Laurent

Minnesota Opera Resident ArtistRecently

A Masked Ball, The Minnesota OperaOrfeo ed Euridice; Orphée, Glimmerglass Opera

Aida; Don Giovanni, Opera Fort CollinsDie Zauberflöte; Carmen; The Abduction from the Seraglio,La curandera; Bastien und Bastienne, Opera Colorado

Faust; L’incoronazione di Poppea, Int’l Inst. of Vocal ArtsMadame Butterfly; The Crucible; The Music Man, Chautauqua

UpcomingThe Fortunes of King Croesus, The Minnesota Opera

Christin-Marie HillGertrudeMinnesota Opera Resident ArtistRecentlyA Masked Ball, The Minnesota OperaA Whitman Tryptich, Tanglewood FestivalDido and Aeneas, Mark Morris Dance Co.; Kansas Opera Thtr.Samson et Dalila (excerpts), Merola Opera TheaterLa Cenerentola; Roméo et Juliette, Lyric Opera of Kansas CityThe Crucible, Des Moines Metro OperaUpcomingLes Troyens, Boston Symphony; Rusalka, Minn. OperaMahagonny, Tanglewood Festival

Kelly MarkgrafMercutioMinnesota Opera DebutLa donna del lago, 2006RecentlyThe Tales of Hoffmann; The Grapes of Wrath; Lakmé;

The Marriage of Figaro, The Minnesota OperaStreet Scene, Opera Theatre of St. LouisCarmen; Barbiere; Madama Butterfly, Pensacola OperaDie Fledermaus, Rimrock OperaSanta Fe Apprentice Artist; Des Moines Metro ApprenticeUpcomingThe Grapes of Wrath, Pittsburgh Opera

Ellie DehnJuliette

Minnesota Opera DebutRecently

Faust, Met-in-the-Parks; Don Giovanni, Opera PacificThe Rake’s Progress, Teatro Comunale di Bologna

Messiah, Cleveland OrchestraUpcoming

Troilus and Cressida, Opera Theatre of Saint LouisDer Freischütz, Le Grand Théâtre de Genève

Satyagraha, Metropolitan OperaDon Giovanni, Ravinia Festival

Das Rheingold; Die Walküre, Los Angeles Opera

Roy KallemeynGrégorio

Minnesota Opera DebutAida, 1998

RecentlyCarmen; Tosca, Minnesota Orchestra

La bohème, Western Plains OperaBastien und Bastienne, Twin Cities Chamber Orchestra

La bohème, Theater Latté DaIolanthe; Chocolate Soldier; Merry Widow, North Star OperaLakmé; The Grapes of Wrath; The Tales of Hoffmann; Don

Carlos; The Barber of Seville; The Capulets and the Montagues;Turandot; Der Rosenkavalier (ensemble), Minnesota Opera

Ben JohnsonBenvolioMinnesota Opera DebutOtello, 1999RecentlyLes Miserables, Chanhassen TheatresThe Grapes of Wrath; Orazi e Curiazi; Passion (roles);

Lakmé; La donna del lago; The Tales of Hoffmann; Don Giovanni; Tosca; The Elephant Man; Nixon in China; Maria Padilla (ensemble), The Minnesota Opera

Messiah, Salem CovenantWest Side Story; Into the Woods, Bay View Festival

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TBD

Christian ReinertRoméo

Minnesota Opera Resident ArtistRecently

A Masked Ball, The Minnesota OperaThe Greater Good; Jenufa, Glimmerglass Opera

Madama Butterfly; A Midsummer Night’s Dream; Béatrice et Bénédict; Die Zauberflöte, Manhattan School of Music

La bohème, American Opera and Musical CompanyLa bohème, Italian Inst. of Vocal Arts; Baltimore OperaTosca, Baltimore Op.; La bohème; Fedora, Palm Beach Op.

UpcomingThe Fortunes of King Croesus, The Minnesota Opera

James ValentiRoméoMinnesota Opera DebutTurandot, 2000RecentlyMadama Butterfly, San Francisco Opera; Opéra de MarseilleLa bohème, Dresden Semperoper; La traviata, La Monnaie

(Brussels); Hamburg Staatsoper; Canadian Opera Co.(Toronto); Seoul, Korea; Faust, Teatro Verdi (Trieste)

UpcomingLa bohème, Teatro alla Scala; Dallas Opera; Florida GrandLa traviata, Deutsche Oper Berlin; ROH – Covent GardenMadame Butterfly, NYC Opera; Manon, Opera Carolina

Adriana ZabalaStéphano

Minnesota Opera DebutDer Rosenkavalier, 2000

RecentlyWaiting for the Barbarians (Glass), Austin Lyric Opera

Carmen, Opera Pacific; Tartuffe, Lake George OperaMerry Widow, Syracuse Opera; Carmen, Wildwood Fest.

The Tales of Hoffmann, The Minnesota OperaLa Cenerentola, Opera Carolina; Arizona Opera

UpcomingIl barbiere di Siviglia, Opera Carolina

Pinocchio, The Minnesota Opera

Andrew AltenbachAssociate Conductor-in-ResidenceMinnesota Opera DebutRecentlyCosì fan tutte; La tragédie de Carmen, Opera on the Jamesguest conductor – Brevard Music Fest.; Milwaukee Opera

Theatre; Indiana Univ. Opera Theatre; Bloomington Symph.;North Shore Chamber Orchestra; College Light Opera Co.

associate conductor – San Francisco Opera – Merola; Music Acad. of the West; Evanston Symph.; Int’l Inst. of Vocal Arts

music director – Bach Chamber Players of St. PaulUpcomingmusic staff – Santa Fe Opera

Jennifer CaprioCostume Designer

Minnesota Opera DebutRecently

Spelling Bee, Broadway; Chicago; San Fran.; BostonMasked, dr2; Striking 12, Daryl Roth; Serendib (EST),

The Atheist, Center Stages; Hardball NYSPF; The Blowin’ ofBaile Galle, Irish Arts Ctr; Girl’s Room, QTIP; (New York)

The Collected Works of Billy the Kid, Edinburgh FringeUtah Shakespearean Fest.; Williamstown Theater Fest.;

GEVA Theater Center; North Shore Music Theater;Hangar Theater; Cleveland Playhouse; Weston Playhouse;

Barrington Stage Co; Millbrook Playhouse, (Regional)

David LefkowichStage Director and ChoreographerMinnesota Opera DebutRecentlyLa bohème, Florida Grand; Roméo et Juliette, Virginia OperaLe portrait de Manon, Glimmerglass Opera;

Gran Teatre del Liceu (Barcelona)Die Zauberflöte; Aida, Metropolitan Opera (AD)La fanciulla del West; Lucia di Lammermoor,

New York City Opera (fight director)La fanciulla del West, Glimmerglass Opera (AD)Miss Lonelyhearts, Juilliard Opera Center (fight director)Appomattox, San Francisco Opera (fight director)