minnesota opera's the magic flute program
DESCRIPTION
2003-2004 SeasonTRANSCRIPT
W O L F G A N G A M A D E U S M O Z A R T
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Contents
The Minnesota OperaPresident & CEO Kevin SmithArtistic Director Dale Johnson
Chair, Board of Directors Susan Boren
The Minnesota Opera, 620 North First Street
Minneapolis, MN 55401 (612) 333-2700
www.mnopera.org
The Minnesota Opera
is a member of OPERA America.
This activity is made possible in part by a grant provided by the Minnesota State ArtsBoard through an appropriation by the Minnesota State Legislature. This project is
supported in part by a grant from the National Endowment for the Arts.
May 2004
The Minnesota Opera Programis published by Arts & Custom Publishing
Corporate Administrator/Publisher Todd HydeAssoc. Publisher/Director of Production Marsha Kitchel
Senior Account Executives Liesl Hyde, Yvonne Christiansen Creative Designer Michael Gutierres
Production Designers Jill Adler, Sue Sentyrz Klapmeier,Robert Ochsner
ARTS & CUSTOM PUBLISHING CO., INC.10001 Wayzata Blvd., Minneapolis, MN 55305
Phone (612) 375-9222 FAX (612) 375-9208
Large-print and Braille programs are available at the Patron Services O∑ce
The Minnesota Opera Sta∂ and Volunteers. . . . . . . . . . . . . . . . . . . . . . . 6
Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Board of Governors 1964 – 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Magic Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Emanuel Schikaneder, Mozart and the Masons . . . . . . . . . . . . . . 15
The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Resident Artist Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
The Minnesota Opera Chorus & Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . 22
The Minnesota Opera 2004–2005 Season . . . . . . . . . . . . . . . . . . . . . . 23
Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The Minnesota Opera Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The Bush Foundation Challenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
NewShanghaiCircus(China)Saturday, June 5 – 11 a.m. and 1 p.m.Sunday, June 6 – 11 a.m. and 1:30 p.m.Ordway Center Main Hall$11, $15, $17; children 3 & under, half price
FESTIVAL FAMILY DAYS Sat and Sun, June 5&6
For all event information,
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FREE WORLDPARTYIN RICE PARK
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Minnesota Opera StaffPresident & CEO Kevin SmithArtistic Director Dale Johnson
Welcome to The Minnesota Opera’s 2003 –2004 season and today’s production of The Magic Flute. Since its inception in 1963,The Minnesota Opera has continued to buildand enrich the cultural life in our community byproducing outstanding and innovative operasand opera education programs that inspireand entertain. The U.S. Bank Private ClientGroup is proud to sponsor the 2003 – 2004season. Sponsoring the opera season is justpart of our commitment to the arts and thequality of life in our community. This year’sopera season celebrates the singer. However,every production involves an ensemble of indi-viduals committed to a common goal. Fromthe conductor to the costume designer, theteam’s objective is to enhance the singer’sability to convey emotion beautifully. At theU.S. Bank Private Client Group, we also em-brace teamwork. Our team is comprised of in-dividuals who are committed to meeting thefinancial needs of our clients. And it is theclient who is at the center of all we do. We’reproud of our partnership with The MinnesotaOpera and to be part of the team effort you’reabout to experience. Enjoy the performance.
Jose A. Peris, Senior Vice President, RegionManager, U.S. Bank Private Client Group,and Minnesota Opera board member
ArtisticArtistic Administrator . . . .Roxanne Stou∂er CruzArtistic Associate . . . . . . Floyd AndersonCommunity Ed Director . . . .Jamie AndrewsDramaturg . . . . . . . . . . . . . David SanderProduction Stage Manager . . . Alex FarinoAssistant Stage Managers . . .Kristen E. Burke,
Katie PreissnerHead of Music . . . . . . . . . .Bruce StasynaCoach/Accompanist . . . . . . . .Julian WardResident Artist Singers . . . .Matt Boehler,
Jeremy Cady, Genevieve Christianson, Liora Grodnikaite, Anna Jablonski,
Seth Keeton, Daniel Montenegro, Evelyn Pollock, Andrew Wilkowske,
Karin Wolverton Resident Artist Assistant Conductor . . . .
Christopher ZemliauskasResident Artist Faculty . .Doug and Miriam
Scholz-Carlson, Nancy TibbettsTeaching Artist . . . . . . . .Angie ShadwickKIDS . . . . .Jeremiah Alto, Christy Anderson,
Mario Diaz-Moresco
CostumesCostume Director . . . . . . . .Gail BakkomAssistant Costume Director . . .Beth SandersDrapers . . . . . . .Chris Bur, Yancey ThriftFirst Hands . . . . . . . . .Helen Ammann,
Mark HeidenStitchers . . . . . . . . . . .Jennifer DawsonPainter . . . . . . . . . . . . . . . . . . .Marliss JensenWig/Makeup Assistants . . . . . . . .Jodi Heath,
Chuck Lapointe, Sarah Opstad, Emily Rosenmeier
SceneryScenic and Lighting Director . . Tom MaysTechnical Supervisor . . . . . . . . . Mike McQuistonScenic Administrator . . . Holly CarpenterProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongCharge Painter . . . . . . . . . . Debra JensenProduction Carpenter . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . . . . . Eva PranisAssistant Lighting Designer . .Nicole Simoneau
AdministrationFinance Director . . . . . . . . . Je∂ CoutureOperations/Systems Manager . . . . . . . . . .
Steve MittelholtzHR/Accounting Manager . . Jennifer ThillExecutive Assistant . . . . . Theresa Murray
DevelopmentDevelopment Director . . .Patrick DewaneIndividual Gifts Director . . . . .Dawn LovenInstitutional Gifts Manager . . . Jaime MeyerDonor Relations Coordinator . . Melissa PetersonDevelopment Assistants . . .Kelly Classen,
Claire MacDonald
Marketing/CommunicationsMarketing Director . . . . . . . . . . .Carl LeeCommunications Director . . . Lani WillisTicket O∑ce Manager . . . . Andrea CorichTicket O∑ce Assistant . . . . .Carol Corich
Minnesota Opera VolunteersThe following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.
Harry D. Swepston, III
(Volunteer Chair)
Ann AlbertsonLaurel AndersonGerald BensonColleen BoyerLinda BrandtJim Brownback*Sue BrownbackJerry CassidyJoann CierniakSusan CoggerCaroline
CoopersmithLindsay CraigBeverly DaileyLee DrawertJudith DuncanSally Economon
Mary Sue FiolaHazel FrancoisJane Fuller*Joan Gacki*Christine A. GarnerJuhi Gupta-Gulati*Mark GustinMary E. HagenLucinda HalletJohn Harris*Kristen HeimerlAnne HesselrothAlisandra JohnsonKaren JohnsonNancy JohnsonJeanie JohnstonSusan KalmerRobin KeckDianne KellyRemigijus Klyvis
Sam KneiszlerEleanore KolarLucinda LamontShirley LarsonRita LavinLisa LiveringhouseAbby MarierMargery MartinJoan MasuckMary McDiarmid*Beth McGuireVerne MelbergWarren MitlyngIrma MonsonLinda MoreyDoug MyhraDan PanshinPat PanshinMegan PelkaSydney Phillips
Bill PhillipsJulia PorterJack RichterJohn RosseFlorence RuhlandJohn Sauer*Christine SawatskyMichael SilhavyWendy SilhavyAngie SolomonWendi SottDawn StafkiNicholas TrimboDoris UngerCarolyn WahteraBarbara Willis*Jeremy WrightMelissa Zschunke
*Lead volunteer
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Keri Picket
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Welcome to The Magic Flute. We’re de-
lighted to have you with us.
You may not realize that ticket revenue
covers only half the cost of producing
the opera you are enjoying today. This
means we are dependent upon contribu-
tions from our audience to continue
to operate.
There is no better time to give to the Opera, since the Bush
Foundation will double your gift! The Bush Foundation
has pledged $650,000 over the next three years in a chal-
lenge gift that you can read about on page 28. This is a
challenge to you, our patrons – the Opera must raise
$150,000 in new and increased gifts before June 30 of this
year.
Our work is drawing world-wide attention, as you will read
on page 29, and the Bush Foundation challenge will build
the funding base to support continued success.
In this program is a list of our many generous contributors.
If your name is not on that list, please consider giving to
The Minnesota Opera. If you are on that list already, we ap-
preciate your ongoing commitment to the company, and
we ask that you increase your contribution. Every new dol-
lar will be matched and will count toward the Bush chal-
lenge, helping to ensure our long-term artistic growth.
This is an exciting time, and this challenge gift from the
Bush Foundation will have a profound impact on the Min-
nesota Opera. Help us meet the challenge!
Kevin Smith
President
Kevin Smith
President & CEO
Welcome to the final production of The Minnesota Opera’s
2003-2004 season – The Magic Flute! We’re glad you got a
ticket to what we expect to be a sold-out production of a
beautiful show.
You will hear some new singers in these performances, as
well as lots of very familiar faces – this production is the
culmination of an intensive training process for our Resi-
dent Artists, all of whom are featured prominently in both casts.
Next season opens in November with Puccini’s Madame Butterfly, one of the
best-known operas of all time. We continue in the spring with Maria Padilla,
by Donizetti (the Bel Canto-era composer who wrote this season’s LucreziaBorgia), followed by another legendary work, Bizet’s Carmen. Next year at this
time we hope you will be in your seat for the Twin Cities premiere of John
Adams’s Nixon in China, an operatic exploration of Nixon’s historic trip that
changed the face of U.S. relations in Asia and of the media’s role in shaping
history.
If you are a subscriber and have already renewed, congratulations! If you have
not yet subscribed, do it today! We are expecting ticket inventory to be tight,
and a subscription is the only way to guarantee yourself a seat to our perfor-
mances. You won’t want to miss a beat.
Dale Johnson
Artistic Director
Board of DirectorsKaren Bachman
Richard P. Carroll
Susan J. Crockett
Ellie Crosby
Rolf Engh
Brad F. England
John G. Forsythe
Steve Fox
R. Thomas
Greene, Jr.
Dan E. Gustafson
Sharon Hawkins
Heinz Hutter
Paula Johnson
Lucy Rosenberry
Jones
Michael F. Kelly, Jr.
Sarah B. Kling
Lynne E. Looney
Elizabeth “Becky”
Malkerson
Thomas R.
McBurney
Diana E. Murphy
Bruce Nelson
Brian E. Palmer
Jose Peris
Connie Remele
Steven M.
Rothschild
Virginia L. Stringer
Catie Tobin
OfficersSusan S. Boren,
ChairJohn A. Blanchard,
III, Vice ChairLucy T. Searls,
SecretaryThomas J. Foley
TreasurerKevin Smith,
President & CEO
Julia W. Dayton,
Director EmeritusMary W. Vaughan,
Director EmeritusJames A.
Rubenstein, legalcounsel, Moss &
Barnett
Honorary DirectorsDominick Argento
Philip Brunelle
Elizabeth Close
Dolly Fiterman
Charles C. Fullner
Norton M. Hintz
Donald W. Judkins
David P. Keefe
Liz Kochiras
Jevne Pennock
Patricia H. Sheppard
Notes from the Leadership
from the Artistic Director
from the President
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Margaret Aanenson†
Timothy Admonius
Mrs. Douglas C. Anderson
Lowell Anderson
Rolf Andreassen, MD
Cynthia A. Andrews
August Aquila
Judee Arnstein
Martha Goldberg Aronson
Karen Bachman
H. John Badenhoop
H. Wesley Balk†
Kenneth G. Baltes, Ph.D.
Patricia Bauer
Thomas Bastasz
Ford Watson Bell
Barbara Bemis†
Judson Bemis†
Jonathan S. Bishop, MD
Marie Blakeman
John A. Blanchard, III
Mark Boeyink
Susan S. Boren
Ron Bosrock
Anthony Bouza
Virginia Broberg
Wayne Brock
Mary Broderick, Ph.D.
Charles E. Brown
Donald P. Brown
Ellis Bullock, Jr.
Sandra K. Butler
M. Claire Canavan
James F. Carroll
Richard P. Carroll
Joseph Cascalenda
Richard Cascio
Yvonne Cheek
Warren B. Cheston
Laura Chin
Mrs. Charles Chrisman
Edward Clapp
Charles Cleveland
David E. Cleveland
Elizabeth Close
Bobby Cohen
Burton D. Cohen
Mrs. John Colwell
David Cooper
Earl D. Craig, Jr.
Robert Crawford
Susan J. Crockett
Ellie Crosby
Gail Dahlstrom
Mrs. John S. Dalrymple
Frank Dawe
Julia W. Dayton
Larry Degen
Richard J. Diedrich
Gerald R. Dillon
Robert Dircks
Kathleen Dougherty
Robert C. Drake
Bruce Earls
Ralph Ebbott
James Elsesser
Robert H. Engels
Kathy Enger
Rolf Engh
Brad F. England
Edward N. Eschbach
Gladys Field
Gary Fink
Richard M. Fishel, Jr.
Dolly Fiterman
Henry Flesh
Thomas J. Foley
John G. Forsythe
Steve Fox
Martin Friedman
Eric Friesen
Leslie Frécon
David W. Frost
Frank Garner
Ludwig B. Gartner, Jr.
Lawrence Gibson
Lois Gibson
Gregory Gleason
Lynn Gorguze
Jim Grantman
R. Thomas Greene, Jr.
Beverly C. Grossman
Steve Guida
Dan E. Gustafson
Jeanne Gustafson
James Hainlen
J. H. Halldorson
Steven Halverson
Beverly Hammond
Ruth Hanold
Sharon Hawkins
Stephen L. Haynes
Philip G. Heasley
A. A. Heckman
John D. Heefner, MD
E. T. Herbig, Jr.
Gary G. Herzberg
Mary Hevener
Norton Hintz
Emogene Hitchcock†
William A. Hodder
William Hogan, II
Allan B. Holbert
Roger Hollander
Dorothy Horns, MD
Donald M. Houpt
Robert Howard
Sister Alberta Huber
Ann Huey
Thomas Hunt
A. J. Huss, Jr.
Ruth Huss
Heinz Hutter
Jay V. Ihlenfeld
Horace H. Irvine, II
Sandra Irvine
Bernard Jacob
Lila Field Jacob
Thomas L. Jenson†
Frank C. Jesse, Jr.
Anne Johnson
Gerald Johnson
James Wm. Johnson
Paula Johnson
Ray D. Johnson
Reid Johnson
Mrs. Thomas E. Johnson
Mrs. Carl Waring Jones
Lucy Rosenberry Jones
Blaine R. J. Joseph
Donald Judkins
Martha H. Kaemmer
Herbert Kahler
Charlotte Karlen
David P. Keefe†
Steve Keefe
Stephen A. Keller
Thomas Keller, III
Michael F. Kelly, Jr.
Robert W. Kelly
Richard L. Kepp
Edward Kerans
Janice Kimes
Harry L. Kistelman†
Sarah B. Kling
Thomas P. Knudsen
Liz Kochiras
Randoph Koppa
Raymond J. Kosak
Raymond Krause
Irene Kreidberg†
Alice Kubista
Constance Kunin
William Lahr
Dr. John E. Larkin, Jr.
Clayton K. Larson
John Lassila
George Latimer
K. Robert Lea
Donald H. Leavenworth
Randy Lebedo∂
Margaret Leppik
Kenneth Lever
Thomas Levis
Michael Levy
André Lewis
Edith D. Leyasmeyer
Sara Lieberman
James T. Lilly
Patty Lindell
Dorothy Longfellow
Elizabeth Longfellow†
Richard C. Longfellow
Lynne E. Looney
John M. Ludwig
Anthony Luiso
Patricia Lund
Margaret L. Macgowan
Richard H. Magnuson
Daniel Malina
Elizabeth “Becky”
Malkerson
Catherine Manlove
Andrew J. Markopoulos
Thomas R. McBurney
Mrs. Walter R. McCarthy
Samuel McCullough
David F. McElroy
Charles McGill, III
Pierce McNally
W. George Meredith
A. E. Michon
Richard R. Miller
Sam S. Miller
Judge Eugene Minenko
Craig Moen
Shirley Moore
John Morrison
Dr. Donn Mosser
Diana E. Murphy
Joseph E. Murphy, Jr.
John H. Myers
Peter Myers
Alan Naylor
Bruce Nelson
Mrs. Glen D. Nelson
James T. Nichols
Nancy Nicholson
Mrs. D. James Nielsen
Robert A. Nielsen
David Nyhus
Alvina O’Brien
Thomond R. O’Brien
Georgia B. O’Connor
Gayle Ober
Maxwell E. Oie
Warren Oskey
Brian E. Palmer
Aldo Papone
Paul L. Parker†
William Payne, MD
Jevne Pennock
Jose Peris
Dwight Peterson
Gordon D. Peterson†
Hall James Peterson
Jodi Peterson
Ann Pflaum
Stephen R. Pflaum
Michael M. Pharr
James J. Phelps
Felix Phillips
William Phillips
William Podas
John M. Pope
Frank E. Porter
Robert Price
Daniel Prins
Kimberly Puckett
Frederick W. Rahr
Jodell Rahr
Walter C. Rasmussen
Charles E. Rea, M.D.
Connie Remele
James Reuland
Norman F. Rickeman
Stuart W. Rider, Jr.
Sarah Rockler
Michelle Roscitt
Steven M. Rothschild
James Rubenstein
Charles A. Russell
Terry T. Saario
Daniel Saklad
Barbara Flanagan Sanford
Maryan Schall
W. B. Schoenbohm
Lucy T. Searls
Mrs. Martin Segal
Frederick E. Sewell
Thomas W. Sha∂er
Lynda Byrd Sharbrough
Gale Sharpe
Patricia Sheppard
Harvey Sherman
Morris M. Sherman
Thomas Sherman
Peter Sipkins
Ella Slade
G. Richard Slade
Justin V. Smith
Alice Smith
Ross D. Smith†
Frank J. Sorauf
Mrs. Loring Staples
Edwin E. Stein
Julie Jackley Steiner
Andrew Stewart
Donald Stiles
Virginia L. Stringer
Robert Struyk
Vern Sutton
Craig E. Swan
Patricia Swindle
Gregory Swinehart
Elaine Taylor-Gordon
Barbara J. Thell
Charles V. Thomas
Mrs. Milo H. Thompson
Peter Thompson
Barbara Tiede
Thomas H. Tipton
Catie Tobin
Marvin Trammel
Joan Truesdale
Loren Unterseher
Stephen Van Tassel
Mary W. Vaughan
Philip Von Blon
Anne Wakefield-Leck
Walter W. Walker
Fred Weil, Jr.
W. Clarke Wescoe†
Marnie Westerback†
John C. Whaley
Hubert W. White†
G. Marc Whitehead
Cli∂ord Whitehill
L. Jeannette Wiggs
Christine Williams
Bruce D. Willis
John Bell Wilson
Karen Wol∂
Ann Zelle
Richard Zona
The Minnesota Opera Board of Governors, 1964–2004The Minnesota Opera celebrates the leadership of its 40-year history.
† deceased
A Minnesota Opera/Dallas Opera co-production.
Die Zauberflöte by Wolfgang Amadeus Mozart; edited for the New Mozart
Edition (Neue Mozart-Ausgabe) by Gernot Gruber and Alfred Orel;
by arrangement with Bärenreiter Music Corporation.
The appearances of Amanda Pabyan, national finalist; Liora Grodnikaite, Anna
Jablonski, Evelyn Pollock and Alfred Walker, regional finalists; and Carlos
Archuleta, Matt Boehler, Jeremy Cady and Rick Penning, district finalists of
the Metropolitan Opera National Council Auditions, are made possible
through a Minnesota Opera Endowment Fund established for Artist Enhance-
ment by Barbara White Bemis.
Performances of The Magic Flute are being taped for delayed broadcast on
Minnesota Public Radio, ksjn 99.5 in the Twin Cities, on June 27, 2004.
The Magic Flute is sponsored by
Rogers & Hollands Jewelers
The 2003–2004 Season is sponsored by
U.S. Bank, Private Client Group
The appearances of the 2003–2004 season conductors are underwritten by
SpencerStuart.
The 2003–2004 Camerata Circle Dinners are sponsored by Rider Bennett.
Opera Insights is sponsored by
Thrivent Financial for Lutherans.
Music by Wolfgang Amadeus Mozart
Libretto by Emanuel Schikaneder
World premiere at the Theater auf der Wieden, Vienna
September 30, 1791
May 15, 16, 18, 19, 20, 21, 22 and 23, 2004
Ordway Center for the Performing Arts
Sung in German with English captions
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Background Notes by David Sander
Following the opening of Così fan tutte in January 1790,
Mozart entered into a very uncertain period in his life.
The new production had achieved only five performances
before the death of Joseph ii closed all of Vienna’s theaters
for a period of mourning. Although Così was briefly re-
vived during the summer, there was yet no word from the
new emperor, Leopold ii, regarding the composer’s future
at the court. Mozart boldly took matters into his own
hands when, that fall, he followed the Emperor’s retinue to
Frankfurt, where Leopold was to be crowned Holy Roman
Emperor by his peers. Hoping to attract the attention of
the new monarch, Mozart tried to attract notice at the
theater and with a public concert, but it was sparsely
attended. On his way back, the composer managed to get
an audience with Elector Karl Theodor (responsible for the
premiere of Idomeneo in 1781) and the visiting King and
Queen of Naples, whose two daughters had just been mar-
ried to Leopold’s two sons (and, in Hapsburg tradition,
their first cousins). Even though he was a leading com-
poser in Vienna, Mozart had not been invited to partici-
pate at the royal wedding, but through one of the sons, the
Conductor . . . . . . . . . . . .Guido Johannes Rumstadt†
Stage Director . . . . . . . . . . . . . . .Michael CavanaghSet and Costume Designer . . . . . . . . .Susan BensonLighting Designer . . . . . . . . . . . . .Michael MurnaneWigs . . . . . . . . . . . . . . . .Tom Watson & AssociatesMakeup . . . . . . . . . . . . . . . . . . . .Charles LaPointeResident Artist Assistant Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Christopher Zemliauskas‡
Assistant Director . . . . . . . . . . .Doug Scholz-CarlsonChorusmaster . . . . . . . . . . . . . . . . . .Bruce StasynaChildren’s Chorusmaster . . . . . . . . . . .Janice KimesGerman Diction Coach . . . . . . . . . . . .Barbara KierigProduction Stage Manager . . . . . . .Alexander FarinoEnglish Captions . . . . . . . . . . . . . . .Floyd Anderson
TThhee CCaassttTamino, a prince . . . . . . . . . . . . . .Patrick Marques*
. . . . . . . . . . . . . . . . . . . . . . . .Daniel Montenegro**
Pamina, daughter of the Queen . .Pamela Armstrong*
. . . . . . . . . . . . . . . . . . . . . . . . . .Karin Wolverton**
Papageno, a birdcatcher . . . . . . . .Carlos Archuleta*
. . . . . . . . . . . . . . . . . . . . . . . .Andrew Wilkowske**
Sarastro, High Priest of the Sun . . . . .Alfred Walker*
. . . . . . . . . . . . . . . . . . . . . . . . . . . .Matt Boehler**
The Queen of the Night . . . . . . . . . .Amanda PabyanThree Ladies, attendants to the Queen . . .Evelyn Pollock, . . . . . . . . . . . . . .Anna Jablonski, Liora Grodnikaite
Monostatos, overseer at the temple . . . .Jeremy CadyThe Speaker . . . . . . . . . . . . . . . . . . . .Seth KeetonPapagena . . . . . . . . . . . . . . .Genevieve ChristiansonFirst Priest/Man in Armor . . . . . . . . . .Rick PenningSecond Priest/Man in Armor . . . . . . . . .Tor JohnsonThree Spirits . . . . . .Nathaniel Irvin*, Alice McGlave*, . . . . . . .Christopher Penning*, Christine Anderson**,
. . . . . . . . . . . . . .Marie Palmquist**, Katya Rouzina**
Slaves, priests, people of the temple
Setting: a mythical time and place
* performs May 15, 18, 20, 22 ** performs May 16, 19, 21, 23† performs May 15, 16, 18, 20, 22 ‡ performs May 21, 23
11•
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efuture Emperor Francis ii, he tried a backdoor approach.
The enterprising composer put out the suggestion that he
might become the court’s second kapellmeister devoted to
church music since Antonio Salieri, as Mozart was quick to
point out, had limited experience in church music. The
proposal had little impact.
Leopold did belatedly confirm his previous position as
composer of courtly dance, and in January 1791, Mozart
was asked to create a series of German dances for a Vien-
nese ball. Other small commissions included works for
such oddities as the glass harmonica and the mechanical
clock, but little else surfaced. An attractive o∂er came from
London for a year-long contract which included two new
operas, but Mozart delayed the visit due to Constanze’s
pregnancy and delicate health. Franz Joseph Haydn went
instead and enjoyed a legendary visit as the toast of the
town, as his “Lon-
don” symphonies
would soon testify.
It’s no wonder
Mozart jumped at
the chance to com-
po s e a popu l a r
opera for the sub-
urban Theater auf
der Wieden when
director Emanuel
Schikaneder made
the pitch. Though
not well-experi-
enced in the genre
of Zauberoper (ad-
mittedly so), he
could hardly refuse
th e o∂e r . Two
more commissions
came soon after, a
requiem mass and
an unexpe c t ed
commission from
Leopold for an opera seria which would become La clemenzadi Tito. Mozart was definitely back in the game.
Schikaneder was not only helping the financially
strapped composer, he was also serving his own needs. Also
somewhat precarious in money matters, thanks to
grandiose theater programming, he needed a hit and
counted on Mozart’s celebrity to ensure a critical success
and financial windfall. Schikaneder was a consummate im-
presario – at once actor, author and composer – who also
required a substantial, yet simple role for himself. He
would become the first Papageno as well as the produc-
tion’s director and librettist.
The sources for the libretto are numerous and varied,
providing virtually unsurpassed analyses by stymied musi-
cologists. No written documentation survives, since Mozart
and Schikaneder were in close daily contact as the work
evolved and didn’t need to write letters. Nor are we certain
when the collaboration first began – a letter sent during
Mozart’s Frankfurt visit makes reference to one of the
show’s numbers, but no formal contract or urtext of the li-
bretto survives. The formula for public opera was much less
strict than for those written for the court, leaving the two
artists to draw from a wealth of ideas. The magical ele-
ments appear to be borrowed from one of a set of fairy tales
collected by Christoph Martin Wieland, titled Dschin-nistan, which included Lulu, oder Die Zauberflöte (Lulu, orThe Magic Flute) by Jakob August Liebeskind. Parallels can
also be drawn to Crétien de Troyes’s 12th-century ballad,
Yvain, with regard to the opening scene and the inclusion
of a hybrid creature of man and beast. There are similarities
to William Shakespeare’s The Tempest (Schikaneder was a
seasoned Shakespearian actor) in the characters of Prospero
(Sarastro), Miranda (Pamina), Ferdinand (Tamino) and Cal-
iban (Papageno), not to mention the spirit of the Queen of
the Night in Shakespeare’s vanquished witch Sycorax and
of the Three Spir-
its in Prospero’s
fairy-servant Ariel.
Further elements
appe a r t o b e
drawn from pan-
tomime, moraliz-
ing puppet plays
and Italian comme-dia dell’arte, not to
mention several
borrowings from
Moza r t and
Schikaneder’s ear-
lier works, such as
the former’s popu-
lar German opera,
The Abduction fromthe Seraglio, the in-
complete Zaïdeand i n c id en ta l
music to Tobias
Ph i l i pp von
Geb l e r ’ s p l ay
Thamos, König in Ägypten and the latter’s Zauberoper DerStein der Weisen, also drawn from Wieland’s Dschinnistan.
Yet the bulk of The Magic Flute appears to be inspired
by Abbé Jean Terrasson’s Egyptian tale Séthos, which de-
scribes the progress and religious transformation of its
princely title character, son of Ramses i of Egypt. This
novel, which Terrasson tried to pass o∂ as a genuine Greek
relic and thus actual history, also served as a “bible” to
Freemasons, a quasi-religious society founded in early 18th-
century England, and widely practiced all over Europe dur-
ing the Age of Enlightenment. It was quite in vogue as
nearly everyone seems to have been a Freemason at some
point: Schikaneder, Mozart, his father, Haydn, Leopold ii(as a member of the Scottish Rite), his father Francis of
Lorraine (to the disdain of wife Empress Maria Theresa)
and Goethe, among others. Fearing the eclipse of Chris-
tianity, the Vatican issued a Papal Bull denouncing Freema-
sonry, but due to Emperor’s participation, it was largely
ignored in Austria. When Francis i died in 1765, however,
Continues on page 12
Helen Todd as the Queen of the Night in The Minnesota Opera’s 1997 The Magic Flute
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Maria Theresa clamped
down on the Freemasons,
her severity only to be re-
pudiated after her death
in 1780 by the more permis-
sive Joseph ii. An essay, On theMysteries of the Egyptians, by a
leading Mason (and former
metallurgist to the Empress)
Ignaz von Born also served as inspira-
tion, and The Magic Flute soon be-
came thought of as an allegory for the
plight of Freemasonry, with Born as
S a r a s t r o , Ma r i a
Theresa as the Queen
of the Night, Joseph
as Tamino and the Vi-
ennese people as Pam-
ina . The ope r a
continues to be heav-
ily deconstructed with
both Jungian inter-
pretat ions and the
work’s intricate Ma-
sonic symbolism.
Moza r t and
Schikaneder ’s first
order of business was
to delight and enter-
tain their audience,
but it is clear that the
two were trying to
send a deeper mes-
sage, by bringing the
subject of Freemasonry to the fore – why else would they
betray so many of the Order’s secret practices? It is also
di∑cult to explain the sudden shift from what begins as a
standard “rescue opera” to one of deeper and more solemn
meaning. One theory (now
largely discredited) is that
Mozart and Schikaneder
feared their new creation
too closely resembled a
new work at the r iva l
Leopoldstadt theater, Kas-par der Fagottist, oder DieZauberzither (Kaspar theBassoonist, or The Magic
Zither), due to open June
11 – it, too, was pur-
ported to be drawn from
the same Dschinnistan fairy tale.
But in a letter to Constanze, Mozart
dismissed it as “simple trash” not
worthy of any concern. It is more likely
that the opera served as Masonic propa-
ganda – the future of the Order was in
limbo in the new regime. The previously
tolerant Joseph had already reduced the num-
ber of lodges in Vienna to three … who knew what
Leopold would do? (As it happened, his successor,
the reactionary and
f e a r fu l F r anc i s i i ,wou ld e r ad i c a t e
Freemasonry com-
pletely from Austria
just a few years later.)
What ev e r t h e
higher purpose may
have been, The MagicFlute was a hit from
the s ta r t w i th the
common people and
played almost every
night well into No-
vember. Mozart at-
tended the opera as
often as he could (and
repeated it in his head
eve ry n ight wh i l e
bedridden during his
fina l i l l n e s s ) , a nd
Salieri, also out of the new Emperor’s favor, gave it gen-
uine praise. Stylistically, the opera has something for
everyone – coloratura opera seria arias (the Queen), simple
folk song (Papageno), religious hymn (the Priests’ march),
a gripping suicide aria
(Pamina), contrapuntal vi-
vacity (the overture) – as
well as dazzling visual
spectacle to boot (a spe-
cialty of Schikaneder’s).
Never having fallen out of
fashion, The Magic Flutecontinues to engage audi-
ences of all ages.
Continued from page 11
Costume design by Susan Benson
act i
Pur sued by a d r agon, P r inc e
Tamino falls faint from exhaus-
tion. Three Ladies in the service of the
Queen of the Night slay the monster,
then admire Tamino’s beauty. They
fight over who will remain with him
while the others fetch the Queen. Not
coming to any resolution, all three de-
part.
Tamino revives and observes the ap-
proach of Papageno, who catches birds
for the Queen. In the course of becom-
ing acquainted, Papageno claims he
killed the dragon. The Three Ladies
return and seal his mouth for telling
the lie. They show Tamino a portrait
of the Queen’s daughter, Pamina, and
Tamino immediately falls in love with
her visage. The Queen of the Night
appears and asks him to rescue Pamina
from the temple of the tyrant Sarastro,
where she is being held captive. As a
reward, the young couple will be wed.
Tamino agrees enthusiastically, and
the Three Ladies give him a magic
flute for protection. Restoring Pa-
pageno’s power of speech, they order
him to accompany Tamino. He re-
ceives a set of magic bells. Three Spir-
its will guide their journey.
At Sarastro’s temple, Monostatos is
charged with guarding Pamina, whom
he treats harshly. Papageno enters, and
both men startle one another with
their unusual appearance and momen-
tarily flee. Papageno is the first to re-
turn, r ecognizes Pamina a s the
Queen’s daughter and tells her of the
ardent young prince who has been
sent to her rescue. She takes pleasure
in the prospect of love, and Papageno
too pines for his perfect mate.
Elsewhere in the temple, Tamino
comes upon the inner sanctuary, but is
barred entrance. A priest tells him he
has been deceived by a mother’s tears
– Sarastro is not the evil person she
described. Feeling lost, Tamino plays
his magic flute and hears Papageno’s
pipe in response; he then follows its
sound. Back in Monostatos’s lair, Pam-
ina and Papageno face recapture, but
Papageno plays his magic bells ,
charming Monostatos and his slaves
and allowing their escape.
Sarastro enters magnificently, and
Pamina admits her attempt to flee, but
only to escape Monostatos’s amorous
advance. Still, she misses her mother,
but Sarastro proclaims there is still
much for her to learn under his tute-
lage. Tamino is brought in and em-
braces Pamina, while Monostatos is
punished for his dereliction.
— intermission —
act iiSarastro announces before the Speaker
and the priests Tamino’s wish to enter
the sanctuary of wisdom and his will-
ingness to undergo the trials of initia-
tion. Papageno is more reluctant, but is
promised a pretty wife, Papagena, as his
reward. The first test is one of silence, a
task Papageno has some di∑culty
achieving, especially when tempted by
the Three Ladies.
Elsewhere, Monostatos continues his
lusty pursuit of Pamina, but is deterred
by the arrival of the Queen of the
Night. The Queen pleads with her
daughter – the seat of power rests with
the all powerful Circle of the Sun,
which was wrongly taken from her.
Pamina must kill Sarastro and take the
Circle back – if she doesn’t, her mother
will disown her. After the Queen’s
angry departure, Monostatos o∂ers to
help in exchange for Pamina’s love.
When she refuses, Monostatos again
threatens her but is interrupted by
Sarastro, who knows of the Queen’s
plot. He forgives Pamina’s part in it,
and Monostatos is banished from the
Order.
Tamino and Papageno continue to
wait out their oath of silence, aug-
mented by thirst and fasting. An old
woman o∂ers Papageno water and soon
admits that her boyfriend’s name is
“Papageno.” Before her identity is re-
vealed, she is sent away with a clap of
thunder. The Three Spirits then pay a
visit and o∂er refreshments. Papageno
eats heartily while Tamino plays his
flute. The music brings forth Pamina,
who is distressed when Tamino does
not respond to her inquiries. She fears
his love has vanished and considers tak-
ing her own life.
Papageno tries to catch up to Tamino
but is denied entry to the inner temple.
The Speaker denounces him, stating that
he will never know true enlightenment,
yet Papageno is hardly bothered, for all he
wants is a wife. He plays his bells, and the
old woman reappears. Under threat of
imprisonment, he begrudgingly agrees to
be her husband. She is immediately trans-
formed into a beautiful young woman,
Papagena, but is whisked away by the
Speaker – Papageno is not yet worthy.
Demented by Tamino’s seemingly
broken vow, Pamina wanders aim-
lessly, dangerously clutching a dagger.
The Three Spirits take her to Tamino,
who is about to undergo the trials of
water and fire. Pamina and Tamino
rea∑rm their love, and she resolves to
go through the ordeals at his side.
Missing Papagena terribly, Pa-
pageno is about to hang himself, but is
saved by the Three Spirits. He is told
to play the magic bells, and to his
great joy, Papagena is soon restored to
him. They rejoice in a future together.
Now in league with the dark side,
Monostatos leads the Queen and her
ladies in one last attempt against
Sarastro, but all are vanquished.
Dressed in priestly robes, Tamino and
Pamina usher in a new era of truth,
beauty and wisdom.
Synopsis13
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Bojan Knezevic as Papageno and MarkThomsen as Tamino in The MinnesotaOpera’s 1997 The Magic Flute.
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Wolfgang Amadeus Mozartb Salzburg, January 27, 1756; d Vienna, December 5, 1791
Child wonder, virtuoso performer and prolific creative
artist, Mozart is the first composer whose operas have
never been out of repertory. His prodigious talents were ap-
parent very early in his life; by the age of four he could re-
produce on the keyboard a melody played to him, at five he
could play the violin with perfect intonation and at six he
composed his first minuet.
A musician himself, Wolfgang’s father, Leopold,
immediately saw the potential of his son’s tal-
ents. With the mixed motives of religious
piety and making a tidy profit, Leopold
embarked on a series of concert tours
showing o∂ the child’s extraordinary
talents. Often playing with his sister
Maria Anna (“Nannerl”), herself an
accomplished musician, young
Wolfgang charmed the royal
courts of Europe, from those of
Austrian Empress Maria Theresa,
French King Louis xv and Eng-
lish King George iii, to the of
lesser principalities of Germany
and Italy.
As Mozart grew older, his con-
cert tours turned into a search for
permanent employment, but this
proved exceedingly di∑cult for a
German musician in a market domi-
nated by Italian composers. Although
many of his early operas were commis-
sioned by Milanese and Munich nobles
(Mitridate, Ascanio in Alba, Lucio Silla, La fintagiardiniera), he could not rise beyond Konzert-meister of the Salzburg archbishopric. When
the new prince archbishop, Count Hierony-
mus Colloredo, was appointed in 1771, Mozart also found
he was released for guest engagements with less frequency.
Though his position improved and a generous salary was
o∂ered, the composer felt the Salzburg musical scene was
stifling for a man of his enormous talent and creativity.
Things came to a head in 1781 immediately after the
successful premiere of Mozart’s first mature work, Idomeneo,in Munich. The archbishop, then visiting Vienna, insisted
the composer join him there. Never did Mozart better un-
derstand his position in the household than during that so-
journ, when he was seated at the dinner table below the
prince’s personal valets and just above the cooks. He re-
quested to be permanently discharged from his duties, and
after several heated discussions his petition was granted,
punctuated by a parting kick in the pants.
Now completely on his own for the first time, Mozart
embarked on several happy years. He married Constanze
Weber, sister to his childhood sweetheart Aloysia, and pre-
miered a new work, Die Entführung aus dem Serail (The Ab-
duction from the Seraglio), at the Burgtheater. Mozart also
gave concerts around Vienna, presenting a number of new
piano concertos and symphonies. His chief concern was to
procure a position at the imperial court. A small commis-
sion came his way from the emperor for a one-act comedy,
Der Schauspieldirektor (The Impresario), given in the same
evening as Antonio Salieri’s Prima la musica e poi le parole(First the music, then the words), to celebrate the visit
of the emperor’s sister, Marie Christine, and
her husband, joint rulers of the Austrian
Netherlands.
The Marriage of Figaro, Mozart’s
first true masterpiece for the imperial
court, premiered at the Burgtheater
in 1786 and went on to Prague the
following year where it was a huge
success. Don Giovanni premiered
in Prague in 1787 to great ac-
claim, but its Vienna premiere in
1788 was coolly received. By this
time, Mozart had received a
minor imperial posting, Kammer-musicus, which required him to
write dances for state functions.
The position was hardly worthy of
his skills and generated only a
modest income, a weighty concern
now that debts had begun to mount.
Joseph ii commissioned another opera
from Mozart, Così fan tutte, which pre-
miered January 26, 1790. The emperor was
too ill to attend the opening and died the fol-
lowing month. His brother, Leopold ii, as-
sumed leadership, and Mozart hoped to be
appointed Kapellmeister – instead he merely re-
ceived a continuance of his previous position.
Crisis hit in 1791. Constanze’s medical treatments at
Baden and the birth of a second child pushed their finances
to a critical point. Mozart’s friend and fellow Freemason,
the impresario Emanuel Schikaneder, suggested he try his
luck with the suburban audiences at his Theater auf der
Wieden. Composition of The Magic Flute began early that
summer but had to be halted when two generous commis-
sions came his way: a requiem for an anonymous patron
(who hoped to pass it o∂ as his own composition), and an
opera seria to celebrate the new emperor’s coronation as
King of Bohemia. La clemenza di Tito premiered September
6, and The Magic Flute was completed in time to open Sep-
tember 30. The Requiem, however, remained incomplete,
and as Mozart’s health began to fail, the composer feared he
was writing his own death mass. In December Mozart died
at the age of 35 and was given a simple funeral by his im-
poverished widow, then buried in an unmarked grave on
the outskirts of Vienna.
Wolfgang Amadeus Mozart
Erich
Less ing/Ar t
Resou rce ,NY
15•
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Emanuel Schikaneder’s position in
music history is often no more than
passing mention as the librettist of
Mozart’s final staged drama. But his
unique and diverse talents had a pro-
found e∂ect on the course of German
opera toward the end of the 18th cen-
tury. Born to a very modest household
(both parents were servants) and or-
phaned as a child,
Schikaneder learned
to make his way as a
itinerant entertainer,
first as a street-per-
forming minstrel,
then as an actor in
F r anz Jo s eph
Moser’s troupe of
traveling players,
over which he even-
tually assumed di-
rectorship in 1778.
He was ambitious
with his program-
ming, o∂ering plays
by Shakespeare (rel-
atively unknown in
Ge rmany a t t h e
time) as staples of
his repertory – his
interpretat ion of
Hamlet was encored
at the Munich court
theater, albeit in a version refitted with
a happy end. He also o∂ered original
works, including plays and singspiels
(German opera with spoken dialogue)
of his own design.
Schikaneder first made Mozart’s ac-
quaintance when his company traveled
to Salzburg in 1780, as the Mozarts
were avid theater-goers. They likely re-
n ewed th e i r f r i end sh ip when
Schikaneder was invited to Vienna in
1784 at the emperor’s request. Joseph
ii had been impressed by a perfor-
mance he attended while traveling
through Pressburg and hoped the im-
presario could revive theater performed
in the German vernacular. The em-
peror’s earlier attempt to establish a
national theater (1776–1783) had
failed miserably, though it yielded one
jewel of lasting significance, Mozart’s
The Abduction from the Seraglio (1782).
Schikaneder o∂ered a short season at
the Kärntnertortheater (including a
proposed viewing of Beaumarchais’s
politically volatile play Le mariage deFigaro) and managed to obtain a license
from the emperor to open his own the-
ater, but he eventually left for a more
stable position in Regensburg.
The impresario was lured back to
Vienna at his wife’s urging. Eleanore
had also been a member of Moser’s
troupe and the couple had married in
1777, but quickly became estranged as
a result o f Emanuel’ s numerous
infidelities. By 1785 Eleanore herself
was involved in an extramarital a∂air
with another company member, Jo-
hann Friedel. They had found a perma-
nent home for their players at the
Freihaus Theater auf der Wieden, lo-
cated just south of Vienna. The Frei-
haus was a small island upon itself,
providing apartment homes and conve-
niences for more than a thousand resi-
dents and practically guaranteeing a
captive audience for its 1,000 seat the-
ater. When Friedel died in 1789,
Eleanore was overwhelmed by the
prospect of running the theater alone
and called for her husband’s assistance.
Unlike the court theaters, which were
underwritten by royal support, the
Freihaus Theater depended solely on
box o∑ce receipts, making it a rather
risky venture. Yet Schikaneder entered
his most profitable years as a theater
producer, providing a wide assortment
of entertainments for his petty bour-
g eo i s aud i en c e .
There was s t i l l a
smattering of high
drama, most notably
Schiller’s Kabale undLiebe and Don Carlos,a s we l l a s mo r e
Shakespeare, Goethe
and Lessing, o∂ set
by “magic” sing-
spiels of his own de-
sign, such as DerStein der Weisen oderDie Zauberinsel (TheWise Men’s Stone, orThe Magic Isle), a
forerunner to TheMag i c F l u t e , D i eEisen-Königin (TheIron Queen) and DerWohltätige Derwisch,oder Die Zaubertrom-mel und Schellenkappe(Th e Cha r i t a b l e
Dervish, or The Magic Drum and Fool’sCap). In 1798 he even tried to repeat
the success of The Magic Flute with a
sequel, Das Labyrinth, oder Der Kampfmit den Elementen (The Labyrinth, or TheStruggle with the Elements, to music by
Peter von Winter), but it fell flat by
comparison.
Still, the original Magic Flute proved
to be a bountiful cash cow, and though
rival theaters in the Leopoldstadt and
Josefstadt districts provided sti∂ com-
petition, Schikaneder was able to se-
cure enough money to finally build his
own house, the Theater an der Wien,
just down the river. Still with Joseph’s
license in his possession, he opened the
opulent new theater in 1801 and relo-
cated his forces there. By this time he
had made an important new contact,
t h e 31 -y e a r- o ld Ludwig van
Emanuel Schikaneder, Mozart and the Masonsb Straubing, September 1, 1751; d Vienna, September 21, 1812
Continues on page 32
Tamino, Papageno, and the Three Ladies; Act I, scene iii of Mozart’s The Magic Flute.Color etching c. 1793 by Joseph and Peter Schaffer
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The Artists For more biographical information about these artists, visit our website at www.mnopera.org
Matt BoehlerSarastro
Minnesota Opera Resident ArtistRecently
Passion; Lucrezia Borgia; Rigoletto; La traviata; The Merry Widow, The Minnesota Opera
The Barber of Seville; La clemenza di Tito; Dardanus,Wolf Trap Opera Company
Amahl and the Night Visitors, Minnesota OrchestraA Midsummer Night’s Dream, Central City Opera
La bohème, Fargo-Moorhead Opera
UpcomingThe Barber of Seville, Ash-Lawn Opera Festival
Genevieve ChristiansonPapagena
Minnesota Opera Resident ArtistRecently
Passion; Rigoletto; The Handmaid’s Tale; La traviata; The Merry Widow; Little Women; others, Minn. OperaCandide (ensemble; Cunegonde cover), Minnesota OrchestraShe Loves Me; Wonderful Town; others, North Star Opera
UpcomingThe Impresario, The Saint Paul Chamber Orchestra
Rigoletto, Opera Costa RicaAcis and Galatea, New Breath Productions
Carmen, The Minnesota Opera
Liora GrodnikaiteThird Lady
Minnesota Opera Resident ArtistRecentlyThe Rape of Lucretia; Passion; Rigoletto, Minnesota OperaThaïs, Opera Theatre of St. LouisAlcina; The Rape of Lucretia; The Rake’s Progress;
Der Kaiser von Atlantis; The Bartered Bride, La Cenerentola; others, Oberlin Opera Theater
La liberazione di Ruggiero dall’isola d’Alcina, (Vilnius)
UpcomingAcadémie Europenne de Musique (Aix-en-Provence)Vilar Young Artists Programme – Royal Opera (London)
Jeremy CadyMonostatos
Minnesota Opera Resident ArtistRecentlyPassion; Lucrezia Borgia; Rigoletto; Macbeth;
Der Rosenkavalier, The Minnesota OperaMessiah, Lexington PhilharmonicGabriel’s Daughter, Central City OperaThe Tender Land; The Magic Flute; Ariadne auf Naxos,
The Minnesota OrchestraA Streetcar Named Desire; Amahl, Univ. of Kentucky
UpcomingThe Chocolate Soldier, North Star Opera
Carlos ArchuletaPapageno
Minnesota Opera DebutLucia di Lammermoor, 2001
RecentlyLa vida breve, The Dallas Opera
Pagliacci/Carmina burana, Orlando OperaMadame Mao, Santa Fe Opera
The Barber of Seville, Opera Roanoke; Opera ApertaLa fanciulla del West, Utah Symphony & Opera
La traviata; Don Carlos; Little Women; others, Minn. Opera
UpcomingNixon in China, The Minnesota Opera
Pamela ArmstrongPamina
Minnesota Opera DebutRecentlyLe nozze di Figaro, New York City OperaCosì fan tutte, Opera PacificLa traviata, Tulsa Opera; Palm Beach Opera
UpcomingLa rondine, New York City OperaDon Giovanni, Opéra Municipal de MarseilleEugene Onegin, Tulsa OperaDer Rosenkavalier, Metropolitan OperaFaust, Michigan Opera Theatre
Interior Design
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52 practice areas,
52 weeks a year.
333 South Seventh Street • Suite 2000 • Minneapolis, MN 55402Phone: 612.340.8900 • Fax: 612.340.7900 • www.riderlaw.com
17•
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visit our website at www.mnopera.org
Anna JablonskiSecond Lady
Minnesota Opera Resident ArtistRecently
Le nozze di Figaro, The Astoria Music FestivalIl barbiere di Siviglia, Portland SummerFest
Passion; Rigoletto; The Handmaid’s Tale; La traviata; The FlyingDutchman; The Merry Widow, The Minnesota Opera
La Cenerentola, Portland State UniversityAlbert Herring; others, Bel Canto nw
UpcomingChautauqua Opera Young Artist Program
Madame Butterfly; Maria Padilla, The Minnesota Opera
Daniel MontenegroTamino
Minnesota Opera Resident ArtistRecentlyThe American Tenors, pbs TelevisionPassion; Lucrezia Borgia; The Handmaid’s Tale;
The Flying Dutchman; Norma; The Merry Widow, The Minnesota Opera
Madame Butterfly, San Francisco Lyric OperaLa rondine, Pocket OperaGiulio Cesare; The Magic Flute; Falsta∂, Opera Festival di RomaThe Tales of Ho∂mann; The Crucible,
San Francisco Conservatory of Music Opera Theater
Patrick MarquesTamino
Minnesota Opera DebutRecently
Tannhäuser, Houston Grand OperaStreet Scene, Wolf Trap Opera CompanyDon Giovanni; Tannhäuser, Tulsa Opera
La damnation de Faust, New Mexico, Grand Rapids SymphoniesDie Fledermaus, Annapolis Opera
Salome, Opera Pacific; Milwaukee SymphonyWerther; Der Rosenkavalier; Falsta∂, Michigan Opera
Carmina burana, Santa Fe SymphonyIdomeneo, Santa Fe Opera
Evelyn PollockFirst Lady
Minnesota Opera Resident ArtistRecentlyPassion; Lucrezia Borgia; Rigoletto, The Minnesota OperaMadame Mao, Santa Fe OperaLa bohème, Western Opera TheaterThe Merry Wives of Windsor, Merola Opera ProgramLa traviata; Lucia di Lammermoor, Indiana Univ. Opera The Pirates of Penzance, Colorado SymphonyCandide; The Face on the Barroom Floor, Central City Opera
UpcomingLa sonnambula, Santa Fe Opera
Seth KeetonThe Speaker
Minnesota Opera Resident ArtistRecentlyPassion; Lucrezia Borgia; Rigoletto, The Minnesota OperaLa bohème; Roméo et Juliette; Don Giovanni, Chautauqua Op.La bohème; Dead Man Walking; La traviata, Austin Lyric Op.A Midsummer Night’s Dream, Central City OperaThe Bartered Bride; Le nozze di Figaro; Orfeo; Così fan tutte;
The Rake’s Progress; others, Indiana University
UpcomingAcis and Galatea, New Breath ProductionsMadame Butterfly; Maria Padilla; Carmen, Minn. Opera
Amanda PabyanQueen of the Night
Minnesota Opera DebutRecently
The Magic Flute, New York City Op.; Op. Theater of PittsburghLakmé, Canterbury Opera (New Zealand)
L’occasione fa il ladro; others, Kommische Kammer Op. (Munich)Handel and Vivaldi Cantatas, Calisto Records
Young Artist – Santa Fe, Washington, Glimmerglass Operas
UpcomingImeneo, Glimmerglass Opera
The Magic Flute, Washington Nat’l Op.; Florida Grand Op.Die Entführung aus dem Serail, Portland Op.; Op. Colorado
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The Artists For more biographical information about these artists, visit our website at www.mnopera.org
Karin WolvertonPamina
Minnesota Opera Resident ArtistRecently
Passion; Rigoletto; The Handmaid’s Tale; Norma; The MerryWidow; Don Carlos; others, The Minnesota Opera
Salome, Des Moines Metro OperaDvorak Te Deum, Minnesota Orchestra
Dialogues of the Carmelites; Le nozze di Figaro; L’incoronazione di Poppea, U of M Opera Theatre
UpcomingResident Artist – Central City Opera
Carmen, The Minnesota Opera
Andrew WilkowskePapageno
Minnesota Opera Resident ArtistRecentlyPassion; Lucrezia Borgia; La traviata; others, Minn. OperaThe Mozart Experience, Minnesota OrchestraThe Magic Flute, Virginia OperaLa bohème; The Barber of Seville, Lyric Opera of San AntonioRoméo et Juliette; Le nozze di Figaro; Dead Man Walking;
Elektra; The Magic Flute, Cincinnati Opera
UpcomingDon Pasquale, San Francisco Opera Merola ProgramNixon in China, The Minnesota Opera
Alfred WalkerSarastro
Minnesota Opera DebutLa clemenza di Tito, 2002
RecentlyLes contes d’Ho∂mann, Tulsa Opera
Das Rheingold, New Orleans OperaFaust; Les Troyens; Turandot; others, Metropolitan Opera
UpcomingElektra, Teatro alla Scala; San Sebastian Festival
La bohème, Atlanta OperaMadame Butterfly, Metropolitan OperaLe nozze di Figaro, New Orleans Opera
Michael MurnaneLighting Designer
Minnesota Opera DebutAriadne auf Naxos, 1987
RecentlyElijah’s Wake; The Holiday Pageant, Open Eye Figure TheaterThe Symphony Ball, Minnesota OrchestraNutcracker Fantasy, Minnesota Dance TheatreGlamorama, Marshall Field’s (Minneapolis; Chicago)Theater credits – Arizona Theatre Co.; Vocal Essence;
Chanhassen Theatres; Illusion Theater; Jungle Theater; Children’s Theatre; Minn. Dance Theatre; Minnesota Orchestra; Ballet of the Dolls
Janice KimesChildren’s Chorusmaster
Minnesota Opera DebutHansel and Gretel, 1981
RecentlyLa bohème; Pagliacci/Carmina burana; Street Scene;
Turandot; Madame Butterfly; The Turn of the Screw; Tosca; The Magic Flute; Carmen; La bohème; Rigoletto; Bok Choy Variations; others, The Minnesota Opera
Founder and Artistic Director – Bel Canto Voices Macbeth; others (ensemble), The Minnesota Opera
UpcomingCarmen, The Minnesota Opera
Michael CavanaghStage Director
Minnesota Opera DebutRecentlyCavalleria rusticana; Così fan tutte, Manitoba OperaLa bohème; La traviata; Rigoletto, Arizona OperaLa traviata, Calgary OperaUn ballo in maschera, Opera Lyra OttawaLa fille du régiment, Vancouver OperaMadame Butterfly, L’Opéra de MontréalOf Mice and Men, Edmonton Opera
UpcomingDon Giovanni, Vancouver Opera
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The Artists For more biographical information about these artists, visit our website at www.mnopera.org
Guido Johannes RumstadtConductor
Minnesota Opera DebutThe Flying Dutchman, 2003
RecentlyLe coq d’or; La petite Renarde rusée; Die Zauberflöte;
La finta semplice; others, Opéra de NantesOrlando paladino, Glimmerglass Opera
Rigoletto; Madama Butterfly, New York City OperaDie Vögel, Wiener Volksoper
Joseph Süss (Flanert); Der Traum ein Leben (Braunfels);Oberon; Werther; Ariadne auf Naxos; La traviata; Salome;
others, Opera Regensburg (Music Director)
Doug Scholz-CarlsonAssistant Director
Minnesota Opera DebutDer Rosenkavalier, 2000
RecentlyHamlet; Romeo and Juliette, Theater 3 (New York)The Rape of Lucretia (RAP workshop); The Handmaid’s Tale;
Passion; Don Carlos; others, The Minnesota OperaLucia di Lammermoor, Pittsburgh OperaI Capuleti e i Montecchi, New York City OperaA Christmas Carol; Gross Indecency; Sweeney Todd,
Guthrie TheaterHamlet; The Tempest; others, Utah Shakespeare Festival
Christopher ZemliauskasAssistant Conductor
Minnesota Opera Resident ArtistRecentlyThe Rape of Lucretia; Passion; others, The Minnesota OperaCoach/Accompanist – Dialogues des Carmélites; Die Fledermaus;
Eric Hermanson’s Soul (Univ. of Minnesota); Eugene Onegin; Don Pasquale; Samson et Dalila (Indianapolis Opera); Don Pasquale; Albert Herring; L’enfant et les sortilèges (Music Acad. of the West);The Medium, Angelique; The Barber of Seville (San Fran. Merola)
UpcomingTales of Ho∂mann; Le jongleur de Notre Dame, Central City Op.Madame Butterfly, The Minnesota Opera
Bruce StasynaChorusmaster
Minnesota Opera DebutDer Rosenkavalier, 2000
RecentlyRigoletto; Lucrezia Borgia; others, The Minnesota Opera
The Barber of Seville, Opera Roanoke (conductor)Die ägyptische Helena, American Symphony Orchestra
The Barber of Seville; Tito; Don Pasquale, Wolf Trap OperaAriadne auf Naxos; Il re pastore; Il matrimonio segreto;
others, Lake George Opera Festival
UpcomingMadame Butterfly; La Cenerentola, Des Moines Metro Opera
Now in its seventh season, The Minnesota Opera ResidentArtist Program is devoted to discovering and training thenext generation of opera talent. This program has been in-credibly successful with graduates going on to engagementswith such international opera companies and orchestras as
the Metropolitan Opera, San Francisco Opera, New YorkPhilharmonic Orchestra, Rome, Tokyo as well as the Min-nesota Orchestra and The Saint Paul Chamber Orchestra.For several of our RAPs, these Magic Flute performances arethe culmination their entire Minnesota experience.
The Minnesota Opera Resident Artist Program
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Fran Davis • Coldwell Banker Burnetwww.theplaceforlofts.com / 612.925.8408 / 612.338.4500
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A perfect opportunity to live in the North Loop neighborhood in newconstruction lofts. Exposed ceilings, concrete floors, open floor plans,G.E. stainless steel appliances and so much more.
Sales Office Located at Rock Island Lofts (Corner of 1st St. N. & 4th Ave. N.)
Open M–F: 12–6 & Sat/Sun: 1–4
Renée Fleming
Alfred Brendel
2004–2005
Lang Lang, piano • Thursday, October 28, 2004
A Chamber Music Evening (from Lincoln Center)Phyllis Pancella, mezzo soprano,
Paul Neubauer, viola, Anne-Marie McDermott, pianoFriday, November 26, 2004
Miriam Fried & Jonathan Biss mother & son violin and piano duo
Wednesday, January 12, 2005
Renée Fleming, soprano • Wednesday, February 23, 2005
Alfred Brendel, piano • Tuesday, March 29, 2005
ORDWAY CENTER FOR THE PERFORMING ARTS • SAINT PAUL, MINNESOTA • TICKETS: 651-292-3267
The Schubert Club • www.schubert.org
Cedar Street, Saint Paul
Susanne Mentzer Sharon Isbin
Håkan Hagegård
June 21 – 27, 2004
— Art Song Recitals —
Susanne Mentzer, mezzo-soprano and Sharon Isbin, guitar • June 21Maria Jette, soprano and David Schrader, fortepiano, Larry Combs, clarinet • June 22
Håkan Hagegård, baritone, Warren Jones, piano • June 24New York Festival of Song • June 25
Nathan Gunn, baritone & Julie Gunn, piano & Saint Paul Chamber Orchestra Players • June 26
— Public Master Classes —
Susanne Mentzer • June 22 • Håkan Hagegård • June 23
— Grand Historic Song Concert —
Stephen Foster and Friends • Philip Brunelle, Artistic DirectorMaria Jette, soprano • Nathan Gunn, baritone • VocalEssence Ensemble Singers
June 27
FOR DETAILED INFORMATION AND TICKET PRICES PLEASE CALL: 651-292-3267
The Schubert ClubEstablished 1882 • One of America’s oldest and most distinguished concert organizations
International Artist Series
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The Minnesota Opera OrchestraViolin IKristen Christensen
concertmasterJulia Persitz
David Mickens
Sheila Hanford
Judy Thon-Jones
Andrea Een
Violin IILaurie Petruconis
Elizabeth Decker
Stephan R. Orsak
Melinda Marshall
Carolin Kiesel Johnson
ViolaAnnette Caruthers
Vivi Erickson
Laurel Browne
Jenny Lind Nilsson
Cello Jim Jacobson
Adriana LaRosa Ransom
Rebecca Arons Goetz
Tom Austin
BassJohn Michael Smith
Constance Brown
FluteMichele Antonello Frisch
Amy Morris
OboeMarilyn Ford
Tina James
ClarinetSandra Powers
Nina Olsen
BassoonCoreen Nordling
Laurie Hatcher Merz
Horn Charles Kavalovski
Charles Hodgson
Trumpet John G. Koopmann
Christopher Volpe
TromboneSue Roberts
Steven Lund
David Stevens
TimpaniKory Andry
The Minnesota Opera ChorusSopranoMichelle Carlson
Alison Feldt
Michelle Hayes
Sandra Henderson
Patricia Kent
Paula Lammers
Shirley Liephon
Mezzo-sopranoMary Monson
Joy Schieb
Cathryn Schmidt
Sandy Schoenecker
Catherine Sturm
Karen Weaver
Corissa White
TenorJeremiah Alto*
Robb Asklof
Andy Elfenbein
Je∂rey Hess
Brian Kuhl
Oliver Mercer
James Plante
Steve Sandberg
Martin Swaden
Bass/BaritoneMichael Cain
Steve Dahlberg
Mario Diaz-Moresco*
Brian Jorgensen
Don Moyer
Bill Murray
Nathan Petersen-Kindem
Rob Woodin
SupernumerariesAndrew Penning
Avital Rabinowitz
Anna Resele
Christian Skelley
* denotes KIDS partici-pant
(Kids Internship for theDevelopment of Singing)
The Minnesota Opera will hold general auditions June 3, 4, and 5, 2004. Principal
roles are usually cast at least a year in advance and supporting roles and choruses are
generally cast locally or from our Resident Artists Program.
Auditions are by appointment only and on a first-come, first-served basis. Please
call 612-333-2700 weekdays between 10 a.m. and 4 p.m.
Audition Requirements:Prepare one operatic aria of choice in the original language. Bring current re-
sume and photo. Singer should provide own accompanist. A list of accompanists
is available upon request.
The Minnesota Opera AuditionsCall today for tickets!612.624.2345
or order online at www.tcgmc.org
Pride Weekend Concert!Friday & Saturday,
June 25 & 26, 2004 – 8 p.m.(June 26th ASL Interpreted)
Ted Mann Concert Hall
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MADAME BUTTERFLY
Giacomo Puccini, Nov. 6—13, 2004
MARIA PADILLA
Gaetano Donizetti, March 5—13, 2005
CARMEN
Georges Bizet, April 16—23, 2005
NIXON IN CHINA
John Adams, May 14—22, 2005
At the Ordway Center for the Performing Arts
TO THE 2004-05 SEASON
Call 612-333-6669
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photo by Barbara Willis
The Minnesota Opera’s Young Professionals Group issponsored by Rogers & Hollands Jewelers.
Fhima’s is the official venue for Opera Nights Out.
Opera Night Out: The Magic Flute
Friday, May 21, 200410:30–midnight
post-opera cocktail party at Fhima’s
Upcoming Events
Operastraight up, with a twist…
The Minnesota Opera’s Young Professionals Group
Are you a 20- or 30-something who’scurious about opera? Join other youngprofessionals for the hottest ticket intown — The Minnesota Opera’s YoungProfessionals Group! Members are enti-tled to great seats at the Opera forrock-bottom prices, as well as pre-operacocktail parties and special eventsthroughout the season.
The low-cost membership (only $30 perseason) entitles YPG members to prior-ity event access and steep discounts onopera tickets.
Join before May 21 and receive YPGbenefits for The Magic Flute AND the2004 – 2005 Season.
Cultivating a new generation of opera-goers in the Twin Cities
To learn more about the YoungProfessionals Group, visit
www.mnopera.org, or email us at [email protected].
Operastraight up, with a twist…
C O N N E C T O N
612.375.9222
Providing advertising opportunities in these fine arts publications: • The Minnesota Opera
Program • Minnesota Orchestra Showcase Magazine • Hey City Theater • Children’s Theatre
Company Program • Guthrie Theater Program • Ordway Center for the Performing Arts Program
• The Saint Paul Chamber Orchestra Prelude Magazine • Northrop Dance Series Program •
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The Minnesota Opera Fund
The Bel Canto Circle is The Minnesota Opera’s highest category of personal support, indicating lead gifts of $10,000 or more. With this designation, we recognize these very special friends for their commitment to the tradition of opera in our community.
Gold $5,000-$9,999AnonymousRebecca Rand and E. Thomas BingerMr. James BingerDr. Susan and Richard CrockettTheresa and Richard DavisDavid and Vanessa DaytonCy and Paula DeCosse Fund of
The Minneapolis FoundationThe Denny Fund of
The Minneapolis FoundationRudolph W. Driscoll†
Sally J. EconomonRolf and Nancy EnghMr. and Mrs. John ForsytheConnie Fladeland and Steve FoxLeslie and Alain FréconN. Bud and Beverly Grossman
FoundationIeva M. GrundmanisAlfred and Ingrid Lenz HarrisonBryce and Paula JohnsonSamuel L. Kaplan and
Sylvia Chessen KaplanMichael F. and Gretchen G. Kelly and
the Kelly Family Foundation
Constance and Daniel KuninLynne LooneyMs. Becky MalkersonMary Bigelow McMillanBruce and Sandy NelsonAlbin and Susan NelsonTimothy and Gayle OberMrs. Michelle RoscittMr. and Mrs. Steven RothschildStephanie Simon and Craig BentdahlKevin and Lynn SmithVirginia L. and Edward C. StringerGregory C. SwinehartCatie Tobin and Brian NaasWilliam Voedisch and Laurie CarlsonCharles Allen Ward Fund of
The Saint Paul Foundation
Silver $2,500-$4,999AnonymousEric AanensonChloe D. AckmanMartha and Bruce AtwaterDr. Ford and Amy BellWilliam Biermaier and David HansonAlexandra O. Bjorklund
Mrs. Thomas B. CarpenterRachelle Dockman ChaseGary CollyardDr. James E. and Gisela CorbettMrs. Thomas M. Crosby, Sr.John and Arlene DaytonMary Lee and Wallace DaytonLisa and Patrick DenzerMr. and Mrs. John DonaldsonRondi Erickson and Sandy LewisTom and Lori FoleyChristine and W. Michael GarnerMr. and Mrs. R. James GesellBill and Eleanor GoodallR. Thomas Greene, Jr.Dan and Jill GustafsonMr. John HarrerSharon and Bill HawkinsDorothy J. Horns, M.D., and
James P. RichardsonJay and Cynthia IhlenfeldDr. and Mrs. Robert JosselsonStan and Jeanne KaginMr. and Mrs. William KlingMrs. James S. KochirasMr. and Mrs. Ted KolderieDavid MacMillan and Judy Krow
Mary K. Mahley Family FoundationRoy and Dorothy Ann MayeskeHarvey T. McLainJames and Judith MellingerMrs. John M. Musser†
Nelson Family FoundationRichard and Nancy NicholsonWilliam and Barbara PearceMarge and Dwight PetersonJames J. Phelps and
Nancy McGlynn PhelpsMr. and Mrs. William PhillipsLila and Bruce PriebeMichael L. Reed and Jane TilkaPaul and Mary ReyeltsKen and Nina RothchildE. Elaine and Roger SampsonKay Savik and Joe TashjianFred and Gloria SewellDr. Joseph Sha∂er and
Dr. Kristina Sha∂erFrank and Lynda SharbroughKathi SharnbergTanrydoon Fund of
The Saint Paul FoundationBernt von Ohlen and Thomas NicholNancy and Ted Weyerhaeuser
Individual Donors: The Camerata Circle
Individual Donors: The Bel Canto Circle
Bel Canto $10,000+Karen BachmanMrs. Judson Bemis†
Mary and Gus BlanchardRod and Susan BorenDarlene J. and Richard P. CarrollRusty and Burt Cohen
Ellie and Tom Crosby, Jr.Julia W. DaytonBrad and Diane EnglandDolly J. FitermanJohn and Ruth HussHeinz and Sisi HutterLucy Rosenberry Jones
The Art and Martha Kaemmer Fundof HRK Foundation
Warren and Patricia KellyPeter J. KingPatricia LundThomas and Barbara McBurneyMargaret Meyers
Diana and Joe MurphyMrs. George T. PennockJose Peris and Diana GuldenElizabeth and Andrew RedleafConnie and Lew RemeleMary W. VaughanC. Angus and Margaret Wurtele
Artist Circle $1,000-$2,499Anonymous (3)An Anonymous Gift from a Donor
Advised Fund of The Saint PaulFoundation
Cordelia Anderson and John Humleker
Kim A. AndersonPaula AndersonLowell Anderson and Kathy WelteJaime Andrews and
Jane Kolp-AndrewsJohn Andrus, IIIMartha Goldberg Aronson and
Daniel AronsonMr. and Mrs. Edmund P. BabcockDr. Thomas and Ann BagnoliSue A. BennettJohn and Jennifer Bernstein Mr. and Mrs. Paul G. BoeningJudith and Arnold BrierJohn and Joan BrooksConley Brooks FamilyJoe and Judy CarlsonBruce CarlsonJoan and George CarlsonDr. Stephen and Beth CragleRuth and Bruce Dayton
Thomas and Mary Lou DetwilerMona Bergman Dewane and
Patrick DewaneSia DimitriouMr. and Mrs. Carl B. Drake, Jr.Neil EcklesSusan Engel and Arthur EisenbergEkdahl Hutchinson Family Fund of
The Minneapolis FoundationEster and John FeslerHenry and Anice FleshSalvatore S. FrancoPatricia R. FreeburgBradley A. Fuller and
Elizabeth LincolnDavid and Kathy GalliganLois and Larry GibsonMr. and Mrs. Paul D. GrangaardRosalie He∂elfinger Hall Fund of
The Minneapolis FoundationDon and Arlene HelgesonJohn S. and Rosmarie HellingDoug HeltneCli∂ton K. Hill and Jody RockwellBill and Hella Mears HuegJames L. JelinekDale A. JohnsonJacqueline Nolte Jones
Charlotte and Markle KarlenErwin and Miriam KelenLyndel and Blaine KingE. Robert and Margaret V. Kinney
Fund of The Minneapolis Foundation
Kenneth Kixmoeller, Jr. and Kim Otness
Lisa C. KochirasMaria KochirasDr. Robert L. Kriel and
Dr. Linda E. KrachHelen L. KuehnAnita KuninMark and Elaine LanderganCarl Lee and Linda Talcott LeeClinton and Judith LeeIlo and Margaret LeppikJerry and Joyce LillquistBenjamin Y. H. and Helen C. LiuBill LongLeland T. Lynch and Terry Saario Fund
of The Minneapolis FoundationMr. and Mrs. Robert MandersMargery MartinMr. and Mrs. Edward L. MillsTom Murtha and Stefanie LenwayMrs. John H. Myers
Donald E. NotvikSusan OkieBrian and Julia PalmerKaren B. PaulWilliam and Suzanne PayneJames and Constance PriesFrances and George ReidKatharine S. ReynoldsLois and John RogersBurton G. Ross and Cynthia
Rosenblatt Ross Fund of The Minneapolis Foundation
Dr. and Mrs. Richard J. SchindlerTom Schnettler and Cheryl AppeldornLucy T. SearlsRenate. M. SharpStanislaw and Krystyna SkrowaczewskiHelene and Je∂ SlocumJulie Jackley SteinerDon and Leslie StilesJames V. and Susan W. SullivanMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonBill Venne and Douglas KlineEllen and Fred Wells
Individual Donors: The Artist Circle
These lists are current as of April 1, 2004, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since July 1, 2003. If your name is not listed appropriately,
please accept our apologies, and call Kelly Classen, Development Assistant at 612-342-9553.
For information regarding making a contribution to The Minnesota Opera, please call Donor Relations at 612-342-9569.
27•
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Corporations and Foundations
Minnesota Opera Sponsors
Bel Canto $10,000+3MAllianz Life Insurance of North AmericaAmerican Express Minnesota Philanthropic Program Andersen FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationThe Bush FoundationThe Cargill FoundationDeloitteDeluxe Corporation FoundationEcolab FoundationGeneral Mills FoundationLowry Hill Private Wealth ManagementThe MAHADH Fund of HRK FoundationThe McKnight FoundationThe Medtronic FoundationMinnesota MonthlyMinnesota State Arts BoardRider BennettRogers and Hollands JewelersThe St. Paul CompaniesSpencerStuartTarget Stores, Marshall Fields, and Mervyn’s with
support from the Target FoundationThrivent Financial for LutheransTranstopTwin Cities Opera GuildU.S. Bancorp FoundationU.S. Bank, Private Client GroupWells Fargo Foundation Minnesota
Gold $5,000-$9,999ADC Telecommunications, Inc.Alice M. O’Brien FoundationBemis Company FoundationDorsey & Whitney FoundationJostens, Inc.Lindquist & VennumMcGladrey & Pullen, LLPPentair, Inc.RBC Dain Rauscher FoundationR. C. Lilly FoundationRahr FoundationRyland GroupStar Tribune FoundationThe Regis FoundationValspar FoundationWenger FoundationXcel Energy Foundation
Silver $2,500-$4,999Beim FoundationBoss FoundationDellwood FoundationHutter Family FoundationMargaret Rivers FundMary Livingston Griggs and
Mary Griggs Burke FoundationRiver Chocolate CompanySchwegman, Lundberg, Woessner & Kluth, PASit Investment AssociatesTennant FoundationWest Group
Artist Circle $1,000-$2,499Alliance Capital ManagementAthwin FoundationBrock-White Co., LLCThe Burdick-Craddick Family FoundationThe C. A. Jackley FoundationCharles B. Sweatt FoundationDigital Excellence Inc.The Elizabeth C. Quinlan FoundationElmer L. and Eleanor J. Andersen FoundationFaegre & BensonHogan & HartsonHorton, Inc.Lawrence M. and Elizabeth Ann O’Shaughnessy
Charitable Income TrustLenthe Investment, Inc.Leonard, Street & DeinardMarsh USA, Inc.Maslon, Edelman, Borman & BrandMayo ClinicMcVay FoundationMinnesota Mutual FoundationPeregrine Capital ManagementRobins, Kaplan, Miller & CiresiThe Southways FoundationSt. Croix FoundationTozer FoundationU.S. Trust CompanyVirchow Krause & Company LLP
Season SponsorU.S. Bank, Private Client Group
Production SponsorsRigoletto, U.S. Bank, Private Client Group
Lucrezia Borgia, Ecolab
Passion, American Express Minnesota
Philanthropic Program
The Magic Flute, Rogers & Hollands Jewelers
Production Innovation SystemGeneral Mills
Opening Night Gala SponsorU.S. Bank, Private Client Group
Season Preview CD SponsorLowry Hill Private Wealth Management
Camerata DinnersRider Bennett
Conductor AppearancesSpencerStuart
Promotional SupportMinnesota Monthly
Young Professionals Group Program SponsorRogers & Hollands Jewelers
Opera Nights OutFhima’s
Opera InsightsThrivent Financial for Lutherans
$10,000 – $24,999
$25,000 – $49,000
$50,000 – $99,000
$100,000 +
The Minnesota Opera gratefully acknowledges
its major corporate supporters:
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The Bush Foundation of St. Paul, Minnesota, has pledged $650,000 over the
next three years to The Minnesota Opera. Each year of the grant comes with a
challenge to stimulate new and increased funding.
The Opera must raise $150,000 in new funding by June 30, 2004 to qualify
for the first year of the grant. The Bush Foundation will then double the
impact of each new gift. Opera lovers will be asked to partner with the Bush
Foundation to fuel the company’s continued success.
The three-year impact of this joint partnership will be $1.25 million. If the
Opera meets its $150,000 challenge by June 30, 2004, it will end the current
season with a balanced budget. The Bush Foundation is investing in the
business side of the Opera to ensure that quality will not be compromised.
Indeed, the quality will continue to grow.
This commitment to artistic excellence as a business strategy prompted the
following rave review in the Wall Street Journal:
While most American opera companies traded riskyprogramming for safer options this season, the Min-nesota Opera has taken a different approach to theeconomic downturn. The company is holding to itsartistic philosophy, which includes contemporary workand a bel canto work in every season. By sticking to itsartistic guns in the current season, The MinnesotaOpera has done “Passion” a huge service.
Wall Street Journal, March 2, 2004
After the final year of the Bush Foundation challenge gift, the Opera intends to
add another production to its season, going from four to five. “This grant will
have a profound impact on the
company and the community,”
according to The Minnesota Opera
President and CEO, Kevin Smith.
Contributions for the challenge grant
are currently being sought. For more
information, please call Kelly Classen
in the Development department at
612-342-9553.
The Minnesota Opera Receives Largest Foundation
The Bush Foundation gift comes with an immediate challenge: raise $150,000 in new and increased funding by June 30, 2004
Irini Tsirakidis in the title role of The Minnesota Opera’s 2004 Lucrezia Borgia.
Patricia Racette as Fosca, foreground, andWilliam Burden and Evelyn Pollock as Giorgio and Clara, background, in Passion.
29•
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Dear Friend,
The challenge gift from the Bush Foundation will
have a profound impact on The Minnesota Opera.
We need your help now!
We must raise $150,000 in new and increased gifts by June 30,
2004. As of May 3, we have raised $78,000. We simply must
succeed. Your gift will help us succeed. And the Bush
Foundation will double your gift.
Go to www.mnopera.org for a challenge update!
The Bush Foundation Challenge is timed with unprecedented
artistic achievement. In just the last five months, the company
has received these accolades:
Kudos to The Minnesota Opera … how come the Met isn’tbringing these works here? New York Times, December 28, 2003
Arguably the operatic event of the year. London critic Bruce Hodges, January, 2004
Montserrat Caballe, Beverly Sills and Joan Sutherlandenjoyed varying degrees of success in the part in recent decadesand it’s possible that Tsirakidis, who knows how to light up astage, tops them all. Minneapolis Star Tribune, January 26, 2004.
Our work is drawing world-wide
attention, and the Bush Foundation
challenge will build the funding
base to support continued success.
Every new dollar will count toward
the Bush Challenge and help ensure
our long-term artistic growth.
This is an exciting time. And we
need you! Please be generous when
you are contacted.
Kevin Smith
President
Gift in Its History
$150,000$150,000Bush ChallengeBush Challenge
$150,000Bush Challenge
$78,000$78,000raised so farraised so far
$78,000raised so far
On March 3, 2004 our Artistic Director, Dale Johnson, received the
following letter from the chair of the National Endowment for the
Arts. It’s further proof of our national stature.
Dear Dale Johnson:
I have just received the announcement of your new season. All I can say isthat any opera company that can o∂er new productions of Maria Padillaand Nixon in China in the same short season has my profound admiration.I have never seen either opera, though I know both scores backwards and for-ward. I hope you create huge successes with both.
All the best,
Dana GioiaChairman, National Endowment for the Arts
Washington, D.C.
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Now through Sun. May 23 (Performance times vary)Ordway Center presents Hot ‘n ColeCelebrating the genius of Cole PorterMcKnight Theatre$35 - $45 ASL/AD performance: Sat. May 15, 2 p.m.
Sat. May 15 – Sun. May 23(Performance times vary)The Minnesota Opera presentsThe Magic FluteMozart’s gentle fairy tale leads us into a luminous,compassionate utopia.$28.50-$86.50
Fri. May 28, 8 p.m.; Sat. May 29, 8 p.m.The Saint Paul Chamber Orchestra presentsMozart’s ImpressarioAndreas Delfs, conductorJohn de Lancie, narratorStrauss Le Bourgeois Gentilhomme
JUNE
Sat. June 5 & Sun. June 6Ordway Center presents2004 Flint Hills International Children’s FestivalThe much anticipated annual festival highlightsthe best performing artists for children fromaround the world. Call for a brochure or go onlineat ordway.org for complete details.
Wed. June 16 – Sun. July 4(Performance times vary)Ordway Center presents Les MisérablesOne of the most thrilling and absorbing musicalsof the century!Main Hall $40 - $65ASL/AD performance: Sat. June 26, 2 p.m.
JULY
Tues. July 20 – Sun. Aug. 1(Performance times vary)Ordway Center presents The King and IStarring Sandy DuncanBeloved musical treasure of dance and song1996 Tony Award® for Best Musical RevivalMain Hall $38 - $60ASL/AD performance: Sat. July 31, 2 p.m.
AUGUST
Tues. Aug. 17 – Sun. Aug. 29(Performance times vary)Ordway Center presentsThoroughly Modern MillieWinner of six Tony Awards®, including 2002 Best MusicalMain Hall $38 - $60ASL/AD performance: Sat. Aug. 28, 2 p.m.
TICKETS ANDINFORMATION
Ordway Center for the Performing Arts651-224-4222 ordway.orgThe Minnesota Opera651-224-4222 mnopera.orgThe Minnesota Orchestra612-371-5656 minnesotaorchestra.orgThe Saint Paul Chamber Orchestra651-291-1144 thespco.orgThe Schubert Club651-224-4222 schubert.org
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Beethoven. Schikaneder desperately
tried to lure the up-and-coming com-
poser to the operatic stage and o∂ered
him his own libretto to Alexander, a
work that was intended for the grand
opening. Beethoven was hesitant and
sought advice (and lessons) from vet-
eran composer Antonio Salieri. By that
time Beethoven had moved on to an-
other Schikanederian opus, Vesta Feuer(Vesta’s Fire), but couldn’t quite
make the librettist’s casual treat-
ment of the ancient Roman story
work. With an eye to the current
vogue for French rescue opera, he
chose a story by Jean-Nicolas
Bouilly, which would become Fi-delio (1805).
By this time, Schikaneder’s luck
had run out, and he was forced to
sell his interest to his partner,
Bartholomäus Zitterbarth, in
1802. Schikaneder stayed on as a
director, but the impresario’s for-
mula of presenting singspiel inter-
spersed with works of a higher
caliber couldn’t keep up with the
new Parisian works by Grétry,
Méhul and Cherubini. He was
forced to sell his expansive villa in
suburban Nussdorf, eventually lost
his mind and died in penury. Still,
a statistical account of his works is
noteworthy, with 57 amusements
created for the Theater auf der
Wieden alone, approximately half
of his total oeuvre. In nearly a
decade and half as a busy Viennese
producer he had mounted over 400
theatrical diversions, including opera,
ballet and spoken dramas.
the freemasonsA tradition that was codified in
1717, but traceable to the guilds of the
Middle Ages, Freemasonry prospered
during the enlightened 18th century.
But as the age turned to revolution,
the Craft became tainted with an air of
subversion, at least in royalist eyes. As
most of the founding fathers were Ma-
sons, and the American Revolution
was a act against the English monar-
chy, Freemasonry became synonymous
with rebellion and free thinking. The
French Revolution, just two years be-
fore The Magic Flute’s premiere, was
also supposed to be fueled by Masonic
beliefs, in particular with their com-
mon identifying trademarks of “Lib-
erty, Fraternity and Equality.” Though
initially tolerant, Joseph II would later
greatly reduce the number of lodges in
Austria to only three. After the execu-
tion of French Queen Marie Antoinette
in 1793, their nephew, Emperor Fran-
cis, completely eradicated Freemasonry
in Austria. The ban would last for over
100 years.
Was The Magic Flute intended to be
propaganda for the vanishing Craft? As
recently as 1787 Schikaneder had
joined a Regensburg Freemason lodge,
but fell into disfavor as a result of his
many a∂airs with as many women.
Mozart had been a member since De-
cember 1784, and though he had com-
posed some Masonic music (songs,
cantatas, funeral music), his attendance
at the lodge appeared to wane after a
few years. It is therefore curious that
both artists would devote so much at-
tention to Freemasonry when compos-
ing their new opera, for it appears TheMagic Flute is laced with Masonic sym-
bolism. The predominance of the num-
ber three and i t s mult ip le s i s a
case-in-point – the triangle has partic-
ular significance to the Masons. The
opera makes a trinity of almost every-
thing: three ladies, three boys, three
trials, three temples, threefold utter-
ances and the list goes on. The overture
and Act II finale are set in the key E-flat
(three flats) with the opera proper be-
ginning in the Sturm und Drang rela-
tive minor of C. The overture opens
with five solemn chords (five is another
sacred number) posed in three inver-
sions to a syncopated rhythm (anapesti-
cally repeated three times – often
described as the secret “knock” of
the lodge – when they recur at the
beginning of the development sec-
tion and later during the rituals
opening Act II). The fugal develop-
ment section is also echoed later in
the work, seen in the contrapun-
tally inspired setting of the Two
Men in Armor in Act II as Tamino
prepares for the trials of fire and
water (the polyphony has been in-
terpreted as representing the high
intel lect and equality of the
Order). Mozart composed the
overture and the Act II March of
Priests days before the premiere so
it’s not surprising they are so
strongly attached to the Masonic
message. The Lutheran chorale-
style march reveals yet another
trait of Masonic tradition – one
could be a member and still ob-
serve another religion. The preva-
lent use at decisive moments of the
basset horn (a sort of alto clarinet)
and the trombone, both associated
with Masonic music and neither a
staple of the opera orchestra just yet,
are further Masonic touches, as is the
recurrence of E-flat major (Tamino’s
aria “Dies Bildnis, Pamina and Pa-
pageno’s duet, “Bei Männern,” the Act
II finale), and its three-sharp sister, A
major (the Three Spirits’ “Seid uns
zum zweiten Mal willkommen” in Act
II). The presence of the Speaker also de-
notes a hierarchal position of the lodge.
In his highly detailed book, The MagicFlute, Masonic Opera (Knopf, 1971),
Jacques Chailley scrutinizes the plot,
detecting the existence of further tests,
both air and earth for both Pamina and
Tamino. All four trials were important
to the Masons’ initiation rites and are
drawn from Terrasson’s novel Séthos,from a temple inscription the title
character examines: “He who walks
this way alone, and without looking
Continued from page 15
Mikhail Krutikov as Sarastro in The MinnesotaOpera’s 1997 The Magic Flute
33•
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water and air: and if he can conquer
the fear of death, he will go out again,
out of the bowels of the earth and see
the light again …”
In addition to being seditious, the
brotherhood of Freemasons was ac-
cused of being misogynist, and those
elements speak clearly throughout the
opera. The haranguing Queen of the
Night is the most obvious stereotype
a s b e ing bo th a
wicked, deceptive and
narrow-minded sover-
eign (a clear jab at the
dead Empress Maria
Theresa) and a jilted
woman hell-bent on
revenge (one might
suppose her and Saras-
tro were once lovers,
possibly even married
with Pamina as their
o∂spring – there is no
hard evidence to the
contrary). There is also
a peppering of caution-
ary advice to beware
the wiles of women. Granted, Masonic
lodges excluded women, but in France
there were separate lodges for both
sexes. And as it turns out, Pamina is al-
lowed to undergo the trials of fire and
water with Tamino, and it is her
strength and wisdom that gets them
through the harsh experience. Further,
it seems Sarastro’s realm is not entirely
female free, as we are informed by the
choruses at the end of each act. Likely
the light-hearted sexual stereotypes are
due to the culture of the day – remem-
ber Mozart’s two previous operas, Cosìfan tutte and La clemenza di Tito, are less
than flattering to the “fairer sex.”
One final faulty derision toward the
Freemasons – that members of the
Craft caused Mozart’s death for reveal-
ing too many secrets – has long since
be en d i s c r ed i t ed . A f t e r a l l ,
Schikaneder didn’t die until 1812,and then of natural
causes. To the con-
trary, generosity was a
trait espoused by the
Masons, who helped
each other out during
hard times. Fellow
Freemason Michael
Puchberg often as-
sisted Mozart finan-
cially during his final
years. And following
the composer’s death,
the Order dipped into
its fund for widows to
help Constanze pay for
her husband’s funeral.
Set and costume design by Susan Benson
Good listening {TAKES PRACTICE.}
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