In Detroit, but I Am Delighted That He Has Agreed to Lend His Support to Making the New Detroit Opera House a Reality

Home , House of Ricordi, Joe Louis Arena, Leone Magiera, Polish opera, Samson (opera), Vinson Cole

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David DiChiera, General Director

CONTENTS

Message from the General Director...... 2 History of the Company ...... 3 Michigan Opera Theatre Board of Directors and Trustees ...... 4 The 1991-92 Artists of the Company; biographical profiles ...... 5 Administration and Staff...... 9 The Michigan Opera Theatre Orchestra and Chorus ...... I 0

Fall Season Book Candide Artistic Team, Synopsis, Program Notes ...... 11 Th e Mikado Artistic Team, Synopsis, Program Notes ...... 15

Spring Season Book King Roger Artistic Team, Synopsis, Program Notes ...... 11 Samson and Delilah Artistic Team, Synopsis, Program Notes ...... 14 Lucia di Lammermoor Artistic Team, Synopsis, Program Notes ...... 17

Young A rtists Apprentice Program ...... 19 Community Programs ...... 20 Contributors ...... 21 Guild Alliance ...... 27 MOT Services ...... 28

The program book cover and Luciano Pavarotti in Concer! are made poss..ible in par! by a grant from $i'~hrY?,onyU#~

1991 -92 MICHIGAN OPERA THEATRE PROGRAM BOOK Editors Production Printer Art and Production Rebecca Happel Lou Fox Gaylord Printing Kathy Nagler Bobrow Kathleen Kozlowski Karen Cameron Lorene Cosenza Barb Porter

Cover Advertising Sales Advertising Coordinator Editorial Assistants Kel Fisher, concept and design Rachel Lent Christine Donaldson Sandi Macdonald Photos; Washington Opera, of Eagle Publishing Co with Gaylord Printing Jeanette Pawlaczyk Houston Grand Opera, Special thanks to Lyric Opera of Dallas, Jerome Magid, and MOT Archives. Alice Haidostian . © The 1991 -92 Twenty-first Season Michigan Opera Theatre is supported in The 1991 -92 Michi gan Opera Theatre Program Book, Fall and Spring Editions part by grants from the National Season is presented in cooperation with Michigan Opera Theatre, Endowment for the Arts \:!!?, a federal classical radio station WQRS, FM 105. 6519 Second Ave., agency, and from the State of Michigan Detroit, Michigan 48202; through the Michigan Council for the Michigan Opera Theatre is a member of 313/874-7850 Arts~~. Michigan Opera Theatre is an OPERA America. FAX 313/871-7213 equal opportunity employer. Copyright 2010, Michigan Opera Theatre s E A s o N w E L c o M E fro m D a v 1 d DiChiera

Welcome to the twenty-first season of Michigan Opera Theatre, a season which I am particularly delighted to share with you.

First of all, I am deeply honored that the legendary opera star Luciano Pavarotti has returned to Detroit to open our 1991-92 season with a concert at Joe Louis Arena, and I am grateful for the financial support of Ford Motor Company which makes this event possible. Not only is it a rare privilege for us to be able to host Luciano for an encore performance in Detroit, but I am delighted that he has agreed to lend his support to making the new Detroit Opera House a reality.

The 1991 - 92 season repertory is notable for several reasons. Of our five main stage productions, three are premieres for the company: Leonard Bernstein's vibrant Candide, Camille Saint-Saens' epic Samson and Delilah, and Karol Szymanowski's mystical King Roger.

Candide makes its Detroit debut only days after the first anniversary of the untimely death of Leonard Bernstein, to whose memory this production is dedicated. Samson and Delilah is a new co-production with three other opera companies, and features the ravishing settings and costumes of Italian designer Beni Montresor.

King Roger, a rarely performed Polish opera masterpiece from the early twentieth century, will receive only its third staging ever in the United States. King Roger is particularly noteworthy because it is presented in honor of Detroit's Polish community, whose enthusiasm and fund-raising efforts are helping to make the production possible.

We also welcome back two favorite works, neither of which has been seen on the MOT stage for ten years: Gilbert and Sullivan's rollicking The Mikado and Gaetano Donizetti's bel canto masterpiece Lucia di Lammermoor.

Add to this rich and varied repertory a spectacular roster of debuting and favorite artists, and you have a season which cannot fail to delight and enchant.

EnjIT~ w&~;ng Michig,n Ope,. Thoat

David DiChiera Founder and General Director

P.S.: You will notice that only half of our 1991-92 season appears in this book. That is because, in an effort to serve you better, we are now printing two editions of the program book - one each for the fall and spring seasons. Unlike previous years, our new, streamlined format allows us to give a free copy to each of you, our audience members, to entertain and enlighten you on the company's many activities. I encourage you to bring it to each production.

Michigan Opera Theatre, cited by the Detroit media as Under the guidance and nationally recognized leadership "one of the City's three cultural jewels," is the State of of educator and composer Karen VanderKloot DiChiera, Michigan's premier opera company serving as a Michigan Opera Theatre's popular and successful state-wide cultural resource committed to producing the Community Programs Department is now in its 18th year very best professional productions from the grand of touring the state, bringing opera to communities opera, operetta and musical theatre repertory. throughout the Upper and Lower Peninsulas. Further, Furthermore, the company enhances its season with the company's education department has taken the presentations from the grand classical ballet repertory. national lead in providing performance pieces that both Founded and directed by internationally recognized educate and entertain families and young audiences about impresario David DiChiera, Michigan Opera Theatre the perils of substance abuse, smoking and a variety of has quickly ascended the ranks of its more than 100 social issues. peer companies to assume the prestigious position as one of the top ten opera companies in the United States. Michigan Opera Theatre has gained further national esteem through David DiChiera's additional Within its twenty-one year history, Michigan Opera appointments as the Artistic Director of the successful Theatre has offered the Detroit community outstanding Dayton Opera in Ohio, and as the General Director of the main stage repertory ranging from the comedy of multi-million dollar Opera Pacific located in California's Mozart to the drama of Verdi to the verismo of Stephen burgeoning Orange County. This developing Sondheim. Additionally, the company boasts the relationship among all three companies has proven to be presentation of neglected works that have been a successful means for cost-effective co-productions of rewarded with national PBS telecasts, a musical theatre lavish, new main stage productions and for the revival tnat was sent to Broadway, the world premiere development of important community education of Pasatieri's Washington Square , the American performances. This unique tri--company framework that premiere of two works rich in the tradition of the David DiChiera directs is nationally regarded as a Armenian and Polish opera heritage, and the company's positive and innovative formula for the future of opera first National Public Radio broadcast of Norma, starring production. Dame Joan Sutherland in her historic final performances of the title role. To ensure the long-term growth and stability of Michigan Opera Theatre, the opera company has The company's philosophy of offering young aspiring purchased the Grand Circus Theater, a former movie artists performance opportunities is well regarded, and palace designed by architect C. Howard Crane, as its new particular recognition has come for its role in the and permanent home, the Detroit Opera House. A $20 emergence of such outstanding Black American singers million capital campaign to fund the renovation and as Kathleen Battle, Leona Mitchell, Carmen Balthrop, expansion project is currently underway. The project is Wilhelmenia Fernandez, Vinson Cole, Andrew Smith expected to be completed by the fall of 1994. and conductor Willie Waters. The spirit of this opportunity is kept alive annually through the Young As a non-profit company, Michigan Opera Theatre Artists Apprentice Program, which offers nationally derives its annual income from a variety of sources recruited singers and production personnel performance including the sale of tickets, both season subscriptions and career opportunities. and single performances, through the generosity of private donors, corporations, foundations, state and During its first 15 years, Michigan Opera Theatre made federal agencies; and through a myriad of special fund its home in the historic Music Hall Center, a landmark raising events coordinated by a body of dedicated theatre that was saved by the community. Prior to its volunteers. The company, with a current budget of $5.4 first professional season in 1971, the company's million, has been cited by the Ford Foundation as one of aspirations found expression in the educational the most fiscally responsible arts organizations in the component of the now defunct Detroit Grand Opera country. While the company's day to day operations are Association. With the growth and success of DGOA's directed by a professional staff of 29, the organization is Overture To Opera company under David DiChiera, it governed by a 35 member Board of Directors with became apparent that Detroit wanted to sustain a full further guidance by the 264 member Board of Trustees. time, professional opera company of its own, one that would provide a main stage season at the Music Hall and could also service the greater Detroit and State of Michigan communities with opera entertainment.

BOA RD OF DIRECTORS DIRECTORS EMERITUS Mr. and Mrs. Louis P. Fontana Mr. and Mrs. Frank S. Marra 1991·92 Mr. Frank W. Donovan Mr. and Mrs. Marvin A. Frenkel Mr. Jack and Dr. Bettye Martin Mr. Robert E. Dewar Mr. H. James Gram Mr. and Mrs. Roger Fridholm Mr. and Mrs. E. Robert McCabe Chairman Mr. and Mrs. Michael J. Friduss Mr. and Mrs. William T. Dr. David DiChiera BOARD OF TRUSTEES Dr. and Mrs. Robert A. Gerisch McConnick, Jr. President 1991·92 Mr. and Mrs. Frank Gennack, Jr. Mrs. Wade H. McCree, Jr. Mr. J. Addison Bartush Mr. and Mrs. Edmund Ahee Mrs. Aaron H. Gershenson Mr. and Mrs. Eugene Miller Secretary Dr. and Mrs. Roger M. Ajluni Dr. and Mrs. Pierre Giammanco Mr. and Mrs. Milton J. Miller Mr. Cameron B. Duncan Mr. and Mrs. Robert A. Allesee Mr. and Mrs. Vito P. Gioia Mr. and Mrs. Robert S. Treasurer Dr. Lourdes V. Andaya Mr. and Mrs. Alan L. Gornick Miller,Jr. Dr. and Mrs. Agustin Arbulu Mr. and Mrs. H. James Gram Mr. and Mrs. G.O. Herbert Mrs. Robyn J. Arrington Mrs. Robyn J. Arrington Mrs. Katherine Gribbs Moorehead, Jr. Mrs. Donald C. Austin Dr. and Mrs. Donald Austin Mr. and Mrs. John C. Griffin Mr. and Mrs. E.-Clarence Mr. Philip 1. Benton, Jr. Mrs. James Merriam Barnes Dr. and Mrs. Berj H. Haidostian Mularoni Mrs. Peter Cooper Mr. and Mrs. J. Addison Bartush Mr. and Mrs. William R. Mr. and Mrs. Harry Nederlander Mr. John W. Day Mr. L. Karl Bates Halling, Jr. Mr. and Mrs. Paul L. Nine Mrs. Charles M. Endicott Mr. and Mrs. William A. Bell II Mrs. Robert M. Hamady Mr. and Mrs. Robert T. Mrs. Roger Fridholm Mr. and Mrs. W. Victor Mr. and Mrs. Hugh G. Harness O'Connell Mr. Michael J. Friduss Benjamin Dr. and Mrs. Joseph Harris Mr. and Mrs. Julius L. Pallone Mrs. Vito Gioia Mr. and Mrs. Philip E. Mr. and Mrs. E. Jan Hartmann Mr. and Mrs. Brock E. Plumb Mr. John C. Griffin Benton, Jr. Mr. and Mrs. David B. Hennelin Mrs. Ralph Polk Mr. David B. Hennelin Mr. and Mrs. John A. Betti Hon. and Mrs. Joseph Impastato Mr. and Mrs. David Pollack Mrs. William E. Johnston Mr. John 1. Bloom Mr. and Mrs. Verne Istock Mrs. John Prepolec Mrs. Charles Kessler Mr. and Mrs. Douglas Borden Mrs. Dav id Jacknow Mr. and Mrs. Eugene Robelli Dr. Richard W. Kulis Mr. and Mrs. Donald J. Mr. and Mrs. Wesley R. Johnson Mr. and Mrs. Horace J. Rodgers Mr. Walton A. Lewis Bortz, Jr. Miss H. Barbara Johnston Mr. and Mrs. Richard H. Rogel Mr. Bud Liebler Mr. and Mrs. Richard A. Cascio Mrs. William E. Johnston Mr. and Mrs. Hans Rogind Mr. Robert T. O'Connell Mr. and Mrs. Clarence G. Mr. and Mrs. Arnold Joseff Mr. and Mrs. Andrew M. Savel Mr. Jules L. Pallone CataJlo Mr. and Mrs. Maxwell Jospey Mr. and Mrs. Fred Schneidewind Mr. David Pollack Ms. Virginia Clementi Mr. and Mrs. Mitchell 1. Kafarski Mr. and Mrs. Arthur Schultz Mr. Andrew M. Savel Honorable Avern L. Cohn Dr. and Mrs. Charles Kessler Mr. and Mrs. Alan E. Schwartz Mr. Alan E. Schwartz Mr. and Mrs. Peter Cooper Mr. and Mrs. Eugene L. Klein Mr. and Mrs. Donald E. Mrs. Richard D. Starkweather Mr. and Mrs. James F. Cordes Mr. and Mrs. Semon E. Knudsen Schwendemann Mr. Frank Stella Mr. and Mrs. Rodkey Craighead Mr. Jay Kogan Mr. and Mrs. Richard Sloan Mr. C. Thomas Toppin Mr. and Mrs. Richard Cregar Ms. Reva Kogan Mr. and Mrs. S. Kinney Smith Mr. Robert C. VanderKloot Mr. Ara J. Darakdjian Mr. and Mrs. William Ku Ms. Phyllis Funk Snow Mrs. William P. Viti toe Julia Donovan Darlow & John Mr. and Mrs. Richard P. Kughn Mr. and Mrs. Alan Spencer Mr. Richard C. Webb Corbett O'Meara Dr. and Mrs. Richard W. Kulis Mr. and Mrs. Richard Mr. Martin Westfall Mr. and Mrs. John W. Day Mr. and Mrs. Ronald C. Starkweather Mr. Gary L. White Mr. and Mrs. Robert N. Lamparter Mr. and Mrs. Frank D. Stella Mrs. R. Alexander Wrigley Derderian Mr. and Mrs. Louis E. Lataif Mr. and Mrs. George Strumbos Mr. Morton Zieve Mr. and Mrs. Robert E. Dewar Dr. and Mrs. Robert S. Levine Mr. and Mrs. Sam Thomas Dr. and Mrs. David DiChiera Mr. and Mrs. David B. Lewi s Mr. and Mrs. C. Thomas Toppin FOUNDING MEMBERS Mr. and Mrs. Frank W. Donovan Mrs. Leonard T. Lewis Mr. and Mrs. Lynn A. Townsend Mr. and Mrs. Lynn A. Townsend Melodee A. DuBois & Mr. and Mrs. Walton A. Lewis Mr. and Mrs. Robert C. Founding Chairmen James E. N. Huntley Dr. and Mrs. Kim K. Lie VanderKloot Mr. Cameron B. Duncan Mr. and Mrs. Bud Liebler Dr. and Mrs. Arthur Victor Hon. and Mrs. Avern L. Cohn Lady Easton Dr. and Mrs. Robert Lisak Mr. and Mrs. George C. Vincent Mr. and Mrs. John DeCarlo Mrs. Charles M. Endicott Mr. and Mrs. Alan G. Mr. and Mrs. Harold G. Warner Dr. and Mrs. David DiChiera Mrs. Hilda Ettenheimer Loofbourrow Mr. and Mrs. Richard C. Webb Mr. and Mrs. Aaron Gershenson Mr. and Mrs. Paul E. Ewing Mr. and Mrs. James H. LoPrete Mr. and Mrs. Martin Westfall Mr. and Mrs. Donald C. Graves Mr. and Mrs. Stephen Ewing Dr. and Mrs. Robert E. Mack Mr. and Mrs. Gary L. White Honorable and Mrs. Roman S. Mr. and Mrs. Alfred J. Fisher, Jr. Mr. and Mrs. John Malasky Mr. and Mrs. R. Jami son Gribbs Mr. and Mrs. Charles T. Mrs. Jessie B. Mann Williams Mr. and Mrs. John C. Griffin Fisher, III Mr. and Mrs. Harold M. Marko Dr. and Mrs. Sam B. Williams Mr. and Mrs. Harry L. Jones Mr. and Mrs. Eric A. Wiltshire Honorable and Mrs. Wade Mrs. Charles A. Woll enzin , Jr. McCree, Jr. Mr. and Mrs. Donald Worsley Mr. Harry J. Nederlander Mr. and Mrs. R. Alexander Mr. E. Harwood Rydholm Wrigley Mr. and Mrs. Neil Snow Mr. and Mrs. Donald E. Young Mr. and Mrs. Richard Strichartz Hon . Joan E. Young and Mr. Mr. and Mrs. Robert C. Thomas L. Schellenberg VanderK loot Mr. and Mrs. Morton Zieve Mr. and Mrs. Sam B. Williams Ms. Lucia Zurkowski Mr. and Mrs. Theodore O. Mr. Roy Zurkowski Yntema

SUZANNE ACTON PETER DEAN BECK DENNIS BERGEVIN DOROTHY DANNER Conductor, Chorus Master SetlLighting Designer (New York) and JEFFREY FRANK Director/Choreographer (Missouri ) (M ichigan) Co-Directors. MOT Credits Elsen Associates (New York) MOT Credits MOT Credits Cial/ni Schicchi /I Pagliacci, 1985 Th e Mikado, 1982 Chorus Mas ter/Assistant Music The BalladoJBaby Doe. 1988 MOT Credits Recently Director since 1981 /82 Season The Pirates oj Pemance. 1988 Resident Hair and Make- up Cal/dide . Hawai i Opera Theatre; Recently Recently DeSigners, Spring 1988- present Desert Song. Central City Opera; Chorus Master, MOT, Opera Pacific; La TrOl'iara , The Marriage oj Figaro, Recently La Perichole. Houston Grand Opera; The Pirates oj Pel/zance. MOT; West NYCO Opera National Company; New York Shakespeare Festival: The Tales oj Hoffmann, Opera Side Story, My Fair Lady. The Pirates The Barber oj Sel'ille, Falstaff, Radio City Music Hall : Theatre of Syracuse; The SllIdent oj Penzance, Dayton Opera; Coach, Greater Miami Opera; /I Tral'atore. Washington Opera; Prince, The Merry Widow, Houston Opera Theatre of SI. Louis, Romeo and Juliet, Virginia Opera; Philadelphia Opera; Greater Miami Grand Opera, Lake George. San Diego Opera Arnoldo, Sarasota Opera; Opera; Dallas Opera; Pinsburgh Chautauqua Opera; Camlen. 1991-92 Season Glimmerglass Opera: Hawaii Opera Opera: Spoleto Festival , USA, Italy, Juilliard School; The Daughter oj the . Conductor, Theatre: Baltimore Opera; Australi a; Edinburgh Festival; Regiment, Opera Memphi s, The Mikado; Pennsylvania Opera Theatre Merchalll oJ Venice, Broadway; Indianapolis Opera: The Pearl Chorus Master, 1991- 92 Season Television, PBS and HBO Fishers. Cleveland Opera Assistant Music Director Set Designer, 1991-92 Season 1991-92 Season Th e Mikado and Candide Resident Hair and Make-up Designers Candide

ROBERT FERRIER GREG GANAKAS CONSTANCE HAUMAN D. POLLY KENDRICK Bass-Baritone (Pennsylvania) Director/Choreographer (Michigan) Soprano (Ohio) Costume Designer (Pennsy lvania)

MOT Credits MOT Debut MOT Debut MOT Debul Vill age Elder, Anoush. 1981 Recently Recently Recently Recently Musical numbers, ABC television; London Symphony Orchestra, Candide Aida. Hawaii Opera Theatre; Street Scene, The Rake's Progress , Muny Opera Company; with Leonard Bern stein , L' EnJant et les A Christmas Carol, Ford's Theatre: Th e Magic Flute. Don Giovanni. The Desert Song, Central City Opera; Sortileges; Falstaff, Minnesota The Tempest, Romeo and Juliet. The Moses und Aron, New York City Hartt School of Music; Orchestra, Carnegie Hall; Siegfried. Nerd, Marat/Sade, Three Penny Opera; Le Nozze di Figaro, NYCO Chautauqua Opera Company; Concertgebouw; Die Fledermaus. Opera, Chicago. The Merry Widow, National Company, Boston Early Director of Musical Theatre Program, Canadian Opera: Der Rosenkavalier, Madame Buttetfly; Founder. Parron Music Festival; A Death in the New York University; San Francisco Symphony; Ariadne Designs, PA ; Resident Designer, Family. Minnesota Opera; Broadway; Orf Broadway; auJ Naxos. English National Opera, Lafayene Coll ege, Lehigh University The CrUCible, Regional and International projects Long Beach Opera, Canadian Opera, 1991-92 Season A Masked Ball, Turandor. 1991-92 Season Atlanta Opera, Welsh National Opera; Candide Lyric Opera of Kansas City; The Mikado Tannhauser. Lyric Opera of Chicago Upcoming Upcoming Tasca, Opera Grand Rapids Die Fledermaus, Santa Fe Opera The Merry Wives oJ Windsor, Hansel and Cretel, Canadian Opera Anchorage Opera Der Rosenkavalier, Toulouse, France 1991-92 Season 1991- 92 Season Pooh- Bah, The Mikado Cunegonde, Ca ndide Copyright 2010, Michigan Opera Theatre A R TIS T S o F THE c OMPANY

ZALE KESSLER MITCHELL KRIEGER DOUG LABRECQUE JEFFREY LENTZ Singer/Actor (California) Conductor (New York ) Baritone (Mi chi gan) Tenor (Penn sylvania)

MOT Credits MOT Debul MOT Debut MOT Debut John Styx. Recently Ensemble. Follies, 1988 Recently Orpheus in the Underworld, 1986 HMS Pillafo re, My Fair Lady. Recenlly MefislOfele. Les cOlltes d'Hoffmallll . Major-General Stanley, Madama Bllltelj7y. Cleveland Opera; Les Miserohle. First Nati onal Salome. Pittsburgh Opera: The Pirates of Pell:all ce. 1988 LOI'e Life. Uni versity of Michi gan Company: Hamlet, New York 's Assistant Mu sic D irector. Recently Musical Theater; La Boheme. Public Theatre and PBS; Sligar The Red Mill, H.M.S. Pillafore. The Mikado. Dayton Opera; Carmell . NYC Opera Nati onal Tour; Babies. Nati onal Tour; Love Life. The Mikado. Kismet. Muhlenberg Die Fledermalls Cond ucting Staff, NYC Opera; Joseph & th e Tee//Ilicolor Dreamcoat, Music Festi val. PA; A Little Night Central City Opera and Lyri c Santa Fe Opera; Vi rgini a Opera; Evita, Un iversit y of Michi gan Music, Starl ight Theater, Indianapolis; Opera of Chicago Broadway & Des Moines Metro Opera; 1991 -92 Season The Flight ofLindhergh, NPR Off- Broadway; Opera Pacific Ma xim ilian, Candide Upcoming Los An l\,e1es Philharmoni c; 1991-92 Season 1991-92 Season Washington Opera; Long Beach Calldide Nanki- Poo, The Mikado Opera; Seaule Opera; Television; The Prodllcers. HislOIY of the World Part I. Fi lm 1991-92 Season Ko-Ko. The Mikado

MARY CALLAGHAN RICHARD McKEE JOHN PUCHALSKI ROCHELLE LYNCH Bass- Baritone (New York) Bari tone (Mi chigan) ROSENTHAL Soprano (Michi gan) Mezzo-Soprano (Michigan) MOT Debut MOT Oebut MOT C redits Recently Recenlly MOT Credits Musella, La Boheme. 1979 New York City Opera; Artisti c Di rector of Crossroads Pitti- Sing, The Mikado. 1982 Zerli na , Don Giovanni. 1980 San Diego Opera; Orlando Opera; Prod uctions; Kismet, The Falltasticks. Beggar Woman, Sweeney Todd. 1984 Yum- Yum, The Mikado. 1982 Artistic Director of the Syracuse Invic/Us. The Normal Heart. Mari a, Man of La Mancha . 1987 Mabel, The Pirates of Pell zallce. 1988 Opera; Glimmerglass Opera; Philemoll, Heart of a Dog. Recently Gretel, Hansel alld Gretel, 1989 Nice Opera; Wexford Festival; Man of La Mancha. Pins and Needles. Eris Producti ons; Recently Theatre d' Angers; "Great Unsolved Mysteries." Holiday Cabaret, A ... My Name Is The Mikado, The Bartered Bride. Teatro de la Opera in Puerto Rico NBC TV; Commerc ials Alice, Allie Theater; Cillderella, Glimmerglass Opera; Upcoming and Industri al fi lms Prince Street Players; Do Black Patell t Leather Shoes. New York Cit y Opera; 1991-92 Nightclubs Engagements, NY Birmingham Theatre; The Merry Orl ando Opera; Director, The Baron/lnq ui sitor/et aI. , 1991-92 Season Widow, La Boheme, Toledo Opera; The Merry Widow. Candide Old Lady, Candide The Pirates of Pellzallce, The Mikado. Syracuse Opera Dayton Opera 1991- 92 Season Upcoming Title role, The Mikado Recital tour, Ireland 1991-92 Season Yum- Yum, The Mikado Copyright 2010, Michigan Opera Theatre A R TIS T S o F THE c OMPANY

KENDALL A. SMITH JOHN STEPHENS TRACEY WELBORN JOCELYN WILKES Li ghting Designer (Michigan) Bass-Baritone (M issouri ) Tenor (North Carolina) Mezzo-Sopran o (England)

MOT Credils MOT Debul MOT Debul MOTCredils The Ballad oj Baby Doe. 1988 Recently Recently Katisha, The Mikado. 1982 Resident Lighting Designer, 1989- 91 La Boheme. Ariadne auf Naxos. Corollation oj Poppea, Spoleto Juno, Orpheus in the Recently Opera Theatre of SI. Louis; Festival S. Carolin a; Daughter oj the Ullderworld. 1986 Jesus Christ Superstar. Malibu. The Saint oj Bleecker Street. Regimellt. Boston Lyri c Opera: Cosi Ruth, The Pirates oj American Stage Festival; Madama WaShington Opera; The Mikado. fan tulle, Virginia Opera; First Prize, Penzallce. 1988 Butterfly. Ariadne auJ Noxos, Houston Grand Opera; Mario Lanza Competition Recently Michigan Opera Theatre; A Penny Jor Regina. Boston Lyric Opera Upcoming The Ballad oj Baby Doe. a Song. Pioneer Theatre, UT; Teibele Upcoming A Midsummer Night's Dream, Central City Opera; Pirates oj and Her Demon. Attic Theatre The Desert oj Roses. Opera Theatre of SI. Louis Pen:ance. Mikado, Dayton Opera: 1991-92 Season Houston Grand Opera 1991-92 Season Southern Alberta Opera. Lyric Opera Cp ndide and The Mikado 1991-92 Season Title ro le, Calldide of Kan sas Cit y: theme concerts, Voltaire/Dr. Pangloss/et aI., Merkin Concert Hall Calldide 1991-92 Season Kati sha. The Mikado

" [Watanabe] is a voluptuous Butterfly, beautiful,full voiced,feminine and utterly tragic." - The Detroit News

I Yoko Watanabe as Madame Butterfly. 1991.

Another Tibor Rudas Production. This concert is made possible in part by a grant f~om

The world cheers this Italian operatic debut in great artist at his every La Boheme led to appearance in opera, in ~ engagements throughout recital, with orchestra, ~ Italy and eventually in on television and in Europe and the U.S. motion pictures. His impact has broadened The Pavarotti the horizons of classical phenomenon in America music and brought began in 1965 with untold numbers of new several performances of fans to the art. His Lucia di Lammermoor unique personality and in Miami, Florida with individual quality have Joan Sutherland. His reached and touched Metropolitan Opera countless audiences debut took place on throughout the world on November 23 , 1968, as stage and in concert, Rodolfo in La Boheme, including,hi s visit to the a company that he has People's Republic of performed with ever China during his silver since. Mr. Pavarotti anniversary tour of his performed with the performing career, his Met's national touring silver jubilee tour of productions in Tosca America in joint concert (1979) and Un balto in with Dame Joan maschera (1980), Sutherland, and the including performancet, hi storic World Cup at Detroit's Masonic closing concert which Temple. He made hi s united the three historic Detroit concert magnificent tenors Jose debut under the auspices Carreras, Placido of Michigan Opera Domingo and Luciano Theatre in 1988 at Joe Pavarotti. Louis Arena.

From his many best Beyond his exquisite seller recordings to his tenor voice and artistry frequent "Live from is his enormous Lincoln Center" personality. He has appearances, to his been called a "great bear master classes, documentaries, PBS Christmas concert, and of a man" who "stretches out his arms and in one motion hi s first motion picture, MOM's Yes Giorgio, his musical embraces an entire auditorium and welcomes thousands into renown is second to none, and combined with his interests his heart." The ubiquitous white handkerchief at every in tennis, painting and horsemanship, the name Luciano recital heralds the presence of this remarkable artist. Pavarotti has become a household word. Michigan Opera Theatre is proud to host the return of Born in Modena, Italy where he now resides with his wife Luciano Pavarotti in concert to the Detroit metropolitan and three daughters, Luciano Pavarotti decided early on in community, and applauds the outstanding artistry of thi s his life to become a professional singer. His successful great man.

LUCIANO PAVAROTTI IN CONCERT, SUNDAY, OCTOBER 13,1991. Copyright 2010, Michigan Opera Theatre "The arts embody the free and true expression of the ideals, the aspirations, and the values of the times:'

Harold A. Poling Chairman and CEO Ford Motor Company

~~Y?~ FORD, MERCURY, LINCOLN, FORD TRUCKS

Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre Let the music begin! Let it envelope you. Enrapture you. Move you to joy, to laughter. May its beauty and artistry remain with you long after the final notes have become memories. General Motors joins w ith you in appreciation of this Michigan Opera Theatre performance.

MA RK OF EXCELLENCE

CHEVROLET· PONTIAC · OLDSMOBILE· BUICK· CADILLAC· GMC TRUCK

. ... starts

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ORCHESTRA CHORUS

VIOLIN I CLARINET Ida Abbington Charlotte Merkerson Brian Bowman Diane Boggs Concertmaster Principal Gregory Bryant Velda Kelly Jane Carl Diane Aron-Calhoun Randolph Margitza Patrick Jay Clampitt Theodore Schwartz BASSOON Mary Margaret Clennon Kirkland D. Ferris Michaella Dionne VIOLIN II Principal Sherri A. Edwards Victoria Haltom Christine Prince Kathlyn Faber Principal Vanessa Ferriole Angelina Care one TRUMPET Louise A. Fisher Sam Formicola Charlie Lea Yvonne Friday Brooke Hoplamazian Principal Rosalin Contrera Guastella Gordon Simmons Eric Gibson VIOLA Donald B. Hart Ann Bellino TROMBONE Tom Helmer Barbara Corbato Maury Okun Jeanine Head Ken Martinson Principal John Franklin Hopkins Gregory Near Terry Horn VIOLONCELLO Alvin Johnson Nadine Deleury PERCUSSION Kelton Kepner Principal John F. Dorsey Barbara Konyak Diane Bredesen Principal Ray Lit! Minka Christoff Robin C. Lounsbury Umit Isgorur TIMPANI Ceceli a Mac-Smith Greg White Paul Marquis CONTRABASS Principal Erin M. McFall Derek Weller Robert L. Morency Principal HARP Richard Mox Patricia Terry-Ross Nancy O'Keefe FLUTE Principal Jennifer L. Oliver Pamela Hill Peggy O 'Shaughnessey Principal Detroit Federation of Musicians. Kenneth R. Shepherd Laura Larson Local #5, American Federation Jan Phillips of Musicians Patricia Pierobon OBOE David Podulka *String sections listed alphabeticall y Rebecca Hammond Matthew Pozdol Principal Joy Prignon Ann Augustin Mark Rethman John Riley Mary Robertson Trevor Rutkowski John Schmidt Paul G. Silver Barbara 1. Smith Jay G. Smith Robert Louis Stevens Adrienne Tebbe Tracy Thorne Dean Unick Judith Szefi Grace Ward Charmaine Bailey-Whitehead Virginia Winter

The American Guild of Musical Artists is the official uniol! of the Michigan Opera Theatre vocal performers. I Michel Warren Bell as Joe with members of the chorus in Show Boat, 1990.

Operetta in two acts THE CAST Performances: (in order of vocal appearance) Friday, November 1 at 8 pm Music by Leonard Bernstein Candide: Tracey Welborn Saturday, November 2 at 8 pm Lyrics by Richard Wilbur, with Cunegonde: Constance Hauman Sunday, November 3 at 6:30 pm additional lyrics by Stephen Sondheim Voltaire/pangloss/et al : John Stephens Tuesday, November 5 at 8 pm and John LaTouche Paquette: Lora Fabio+ Wednesday, November 6 at 1 pm Book by Hugh Wheeler, based upon the Maximilian: Douglas LaBrecque Thursday, November 7 at 8 pm novel by Voltaire Baron/lnquisitor/et al: John Puchalski Friday, November 8 at 8 pm Old Lady: Rochelle Rosenthal Saturday, November 9 at 2 pm First performances: +MOT Young Artist Apprentice Saturday, November 9 at 8 pm Boston, 29 October 1956 Sunday, November 10 at 1:30 pm Colonial Theatre Conductor: Mitchell Krieger New York, I December 1956 Director/Choreographer:Dorothy Danner Martin Beck Theatre Set Designer: Peter Dean Beck Costume Designer: D. Polly Kendrick This page and the following three pages Lighting Designer: Kendall Smith are graciously underwritten by Hair and Make-up Design: Elsen Associates Alex and Marie Manoogian. Chorus Master: Suzanne Acton Stage Manager: Leigh Anne Huckaby

T H E s T o R y

Setting: Around the world., Maximilian who is disguised as a woman. Maximilian is sold to a Jesuit priest when the governor discovers he is a man, ACTI Four happy young people reside in the castle of the Baron of Meanwhile, aboard the ship the Old Lady tells her bizarre Thunder-ten-Tronck: an innocent illegitimate cousin Candide; history when pirates take hold. Candide is alone once again. the Baron's daughter Cunegonde; her brother Maximilian; and Paquette, a servant girl. The wisest of all philosophers, Dr. Candide proceeds to the Jesuit stronghold in Montivideo where Pangloss instructs the four that we live in is the best of all he is united with Paquette, now serving the needs of several possible worlds. priests, and Maximilian. When Candide vows to find and marry Cunegonde, Maximilian reiterates his family's Candide, deemed ineligible for marriage into the Baron's opposition. Candide crushes Maximilian with a statue, and family, is ejected from the castle when he and Cunegonde are flees. found manifesting their attraction. He is inducted into the Bulgarian army, which is on its way to attack the Baron's Candide arrives in Eldorado, a country with no war, hunger or castle. The Baron and his family are slaughtered and greed. While moved by this existence Candide pines for his Cunegonde's violated body is left for dead. love and, with two sheep laden with riches, he moves on. In Cartegena, Candide is reunited with Paquette and learns With restored health Cunegonde moves from brothel to brothel Cunegonde is now a slave in a casino in Venice. The two take until she becomes the shared lover of both a wealthy Jew and the governors offer of passage on a ship to Venice but are the High Inquisitor. washed upon a foreign shore when the ship sinks. Fate unites them with Dr. Pangloss, washed upon the same shore after a Candide, washed up near Lisbon following a volcanic shipwreck. They are rescued and taken to Venice. earthquake, is reunited with Dr. Pangloss, who has lost his nose and several fingers to a disease brought on by an excess of Candide arrives masked at the casino where Cunegonde and the love. The two are arrested by an officer of the Inquisition, and Old Lady have become slaves of Prince Rogotoski. The ladies, forced to join the Auto-da-fe: Candide is flogged and also masked, use all of their feminine wiles to steal Candide's Pangloss is hanged. gold. After a scuffle all masks are dislodged and Candide realizes that Cunegonde's true character is nothing like the An Old Lady salves Candide wounds and reunites him with ideal image for which he has searched so diligently. Prince Cunegonde. Candide slays both ofCunegonde's lovers. Rogotoski steals most of the gold and ejects them. Accompanied by the Old Lady, they flee over the border to Cadiz. The Old Lady unsuccessfully attempts to drum up They all try to live on a small farm, but their greed and laziness business with some sleepy dons in the village square. Candide doom the experiment. Candide throws the others out but they is offered a post as captain of the Jesuit army in Montevideo. return, humbled by reality. Candide leads the others to his The three eagerly set sail for the New World. realization that life is not perfect, pure and noble; it is simply life, and all one can do is to try one's best and live life for what ACTn it is. They pledge together to make the garden grow as best Maximilian and Paquette are now slaves in the city of they can. Cartagena, Columbia. The governor is enamored with - Mitchell Krieger Copyright 2010, Michigan Opera Theatre c A N D I D E

CANDIDE: THE BEST OF ALL POSSIBLE MUSICALS by K. M. Kozlowski

Voltaire's Candide mocks the mindless optimism Candide's first librettist was John Latouche, who had espoused by followers of the German philosopher received great praise for his The Golden Apple. Gottfried Wilhelm Leibnitz. Voltaire possessed a great Latouche asked to be excused Candide in late 1954 after deal of respect for Leibnitz's theories; it was the months writing lyrics for personal reasons. Hellman and resulting epistles of Leibnitz's followers, such as Bernstein decided to write the remaining lyrics Christian Wolff and Alexander Pope, that Voltaire themselves; yet the duo soon sent an SOS to writer questioned. Voltaire's "hero" Candide is a young lad Dorothy Parker. Parker was well-known, not unlike brought up with one simple belief instilled in him by his Voltaire, for her wit and satirical turns. (This Parker pen tutor: All is for the best in this best of all possible is also known for her classic descriptions of Hollywood worlds. talents - of Katherine Hepburn: "she ran the gamut of emotions from A-B"; of Astaire-Rogers: "he gave her Leonard Bernstein, with Broadway successes On the class and she gave him sex [appeal].) Parker contributed Town (1944) and Wonderful Town (1953) to his credit, the lyrics for the show's "Gavotte" before bowing out. agreed with playwright Lillian Hellman that Voltaire's Finally in the summer of 1956, a new lyricist came novel would make an excellent theatrical work. In 1955 aboard: Richard Wilbur, a 35-year old poet and college Bernstein had written the incidental music for Hellman's professor who had never worked in commercial theater. The Lark, which was based on the Shaw play St. Joan. Wilbur (a future Pulitzer Prize Winner for poetry) had Hellman had initially conceived Candide as another play achieved acclaim for his interpretation of Moliere, and with incidental music, but Bernstein convinced her to was an inspired choice. In the end it was Wilbur who adapt it as a musical. wrote most of the original production's lyrics.

Candide officially opened in New York City on Writing in the wake of McCarthyism and December 1, 1956. Yet it was evident that this gourmet meal was hampered by too many cooks. The result was during the chilliest days of the Cold War, an indigestible Candide, on which both critics and Bernstein saw his own world reflected in the audiences were divided, and the show closed after 73 . greed and backbiting of Voltaire's Candide, performances. subtitled "Optimism." What happened? Where had this brilliant collaboration erred? Bernstein had never intended to use Voltaire as the basis for a light-weight operetta, though it appears Writing in the wake of McCarthyism and during the that way in the 1973 "Chelsea" version, which the chilliest days of the Cold War, Bernstein saw his own composer had little to do with. In fact, in the ensuing world reflected in the greed and backbiting of Voltaire's years Bernstein made several attempts to salvage the Candide, subtitled "Optimism." Hellman, a victim of Hellman libretto, which many considered the main the witchhunts of the 1950's, concurred with the problem with the original production. Bernstein felt that composer. Yet converting this story to a musical turned Hellman's efforts were well intended, finding fault only into a harrowing with her inability to ordeal. "I got write something nothing but pain out that would be easily of Candide," Miss adapted musically. Hellman later told an interviewer. Describing the Correcting herself, characteristics of a she stated, "No, I good libretto, had a good time on Bernstein said, " It Candide when I was must be succinct as working alone. I am possible, and not a collaborator. anything that can be It was a stormy told in song should collaboration." It be. For example, in was a collaboration West Side Story, the which became a game of musical The opening scene of the original version of Candide. starring chairs with its Robert Rounseville (right) in the librettists. title role. Barbara Cook as Cllnegonde. Max Adrian as Dr. Pangloss (at left) standing next to Louis Edmonds as Maximiliall.

'Something's Coming" number was a pretty late irreverence. In the summer of 1967 the first concert addition. Before that, the character Tony had a whole version of the musical was performed in Chicago's Grant page of speech, but we pinched it and said, 'This is our Park. The fo ll owing year a concert version was song.' This sort of thing is what Lillian didn't know. presented at New York ' s Philharmonic Hall to She was a great playwright and she had to have her commemorate Bernstein's fiftieth birthday. This version scenes to develop her characters." added another character, the Narrator, who, serv ing as Voltaire's alter-ego, clarified the action. Viewing this From an intellectual standpoint, the Hellman libretto success the Los Angeles Civic Light Opera decided to contained numerous ideas that had always held mount a full-scale revival in 1971, adapting the New Bernstein's interest. Like Bernstein' s symphonies, York concert version and adding music which had been Candide is about spiritual crisis, maintaining faith - in discarded from the 1956 production. Although the God, love, life and any number of essential things - intention was well-meaning, the production nonetheless while the characters Candide and Cunegonde survive continued to suffer from the cumbersome book. calamities both natural (the Lisbon earthquake) and man-made (the Spanish Inquisition). There is genuine In 1973, Producer Hal Prince discarded Hellman's book, anguish in songs such as Candide' s Lament ("This and hired Hal Wheeler to create a new one, with World"), which expresses Candide's ever-increasing additional lyrics by Stephen Sondheim. This team cynicism throughout his adventures. This cynicism li ghtened considerably the spirit of the work, and reaches its high-point in the Venetian gambling casinos, audiences responded, allowing the "Chelsea" Candide a in a scene which appeared in the original Broadway run of 740 performances. Over the course of three version and could not be restored until recently, due to decades, the size and scale of the production had been legalities with the Hellman estate. The melody for "Life decreasing; with a stronger book, Candide proved that it is Happiness Indeed", the production's optimistic was a strong theatrical piece. opening number, is used in this scene in a musical number which praises the virtues of prostitutes. Candide In 1982, the New York City Opera chose to refocus on di scovers that the woman in the casino trying to steal the work's initial strength - the music. In 1956, some Cunegonde's ransom is none other than Cunegonde. critics had suggested that the work belonged in an opera Disheartened, the lovers nonetheless reunite, and return house. And the NYCO revival proved them correct. to Westphalia, older but wiser, determined to build a new life based on realism than optimism. In 1988, Conductor John Mauceri restored even more of the previously discarded material for a new English CREATING A CULT CLASSIC National Opera production. Heartened by the David Oppenheim, the head of the Columbia Records enthusiastic response, Bernstein and recording Masterworks division, felt that Bernstein's score merited executives were in accord; a definitive Candide must be recording, although record companies rarely record recorded. With Bernstein at the helm, his hand-picked un s uccessful productions. Nonetheless, Robert groups of singers- actors joined the London Symphony Rounseville (the original Candide) Barbara Cook Orchestra for a series of concerts and recording sessions (Cunegonde, 1956) Max Adrian (Pangloss) and other in late 1989 which allowed the composer to prepare "the cast were assembled in the recording studio, and the now final revised version." In August 199 I, the new class ic album was immortalized on vinyl. This recording recording of Candide was released featuring Jerry developed a cult following, and the aficianados of this Hadley as Candide and June Anderson as Cunegonde. Bernstein work propelled a This work was the composer's last number of efforts to revive the major effort; recording was musical. (It is interesting to note completed in December 1989, and that in 1964, the efforts of former Bernstein succumbed to Bernstein collaborators Stephen complications from emphysema on Sondheim and Arthur Laurents, October 14, 1990. Anyone Can Whistle, failed on Broadway, and yet has nonetheless NEITHER A BORROWER OR managed to achieve, through the LENDER BE efforts of Oppenheim and The Bard warned audiences about Columbia/CBS Records, quite a the perils of borrowing from cult following as well.) others, but there is little conflict when you borrow from yourself. Candide' s overture quickly caught It might be said that Bernstein was on - and remains one of the most an early proponent of recycling; if widely performed overtures today. he discarded a melody from one In 1966, the Theater Group of show, he found a place for it in UCLA staged the work in the style another. of a beggar's opera, restoring some of Voltaire's wit and Composer and conductor I Leonard Bernstein, 1986. Copyright 2010, Michigan Opera Theatre c A N D I D E

Bernstein 's ability to compose rapidly was legendary: his and Candide. " Officer Krupke" from WSS was Broadway show Wonderful Town was written in five originally a song called "Where Does It get You in the weeks. Some composers, such as Rossini , would simply End?" - another melody cut from Candide, although write another piece, rather than revise an existing work. remembered by 1956 audiences of the orig in a l Bernstein , by contrast, was rather economical in the use production. "Oh Happy We" in Candide was originall y of his creative abilities; never write a new piece when an written for the bridal shop scene in WSS ." older one can be salvaged. His "trunk," a composer's collection of unused material, was notoriously small. A Bernstein did not limit himself to looking at hi s own number of tunes were switched between West Side Story work for inspiration. Although critics find some resemblance to Offenbach in Candide, "Glitter and Be Gay" is a parody of "The Jewe l Song" from Gounod 's Faust. The composer also looked to other musical genres; "I am Easily Ass imilated" borrows a number of di ffe re nt sty les and rhythms: a Russo-Hebraic lame nt, an A rgenti ne tango , and a Spa nis h serenade.

I A scene from Act I.

Composer Leonard Bernstein in a interview prior to the original New York opening, pondered the question, "What exactly is Candide?":

"Candide is beginning to look to me like a real fine old-fashioned operetta, or a comic opera, or an opera-comique. But not a musical comedy surely? Who ever said it wasn 't an operetta? ... Of course it's a kind of operetta, or some version of musical theater which is basically European but which Americans have long ago accepted and come to love." I Leonard Bernstein circa 1956.

Operetta in two acts THE CAST Performances: Music by Sir Arthur Sullivan (in order of vocal appearance) Friday, November 15 at 8 pm Lyrics by Sir William Gilbert, based on Nanki-Poo: Jeffery Lentz Saturday, November 16 at 8 pm his original story Pish-Tush: Scott Jussila+ Sunday, November 17 at 6:30 pm First performance: 14 March 1885 Pooh-Bah: Robert Ferrier Thursday, November 21 at 8 pm London, Savoy Theatre Ko-Ko: Zale Kessler Friday, November 22 at 8 pm MOT premiere: 15 January 1982 Yum- Yum: Mary Callaghan Lynch Saturday, November 23 at 2 pm Katisha: Jocelyn Wilkes Saturday, November 23 at 8 pm Scenery constructed by The Mikado: Richard McKee Sunday, November 24 at 1:30 pm Opera Carolina Scene Shop + MOT Young Artist Apprentice Sunday, November 24 at 6:30 pm Tuesday, November 26 at 10am- Conductor: Suzanne Acton Student matinee Director: Greg Ganakas Wednesday, November 27 at I pm This production is co-sponsored by Set Designer: Peter Dean Beck Friday, November 29 at 8 pm Michigan Bell, an Ameritech Company Costume Designer: Malabar Ltd. Saturday, November 30 at 2 pm Lighting Designer: Kendall Smith Saturday, November 30 at 8 pm Hair and Make-up Design: Elsen Associates Sunday, December I at 1 :30 pm Stage Manager: Dan Anderson Fisher Theatre, Detroit

T H E s T o R y

Setting: the fictional village of Titi-Pu, Japan townspeople assemble to wish the couple well. The festivities are interrupted by Katisha who claims Nanki-Poo's hand. ACTI When refused, she threatens to reveal his identity, but her at Nanki-Poo, the son of the Mikado, has disguised himself as a tempts are outshouted by the crowd. wandering minstrel and fled his father's court to escape mar riage with Katisha, an elderly lady of the Mikado's court who ACT II mistook Nanki-Poo's "customary affability into expressions of As Yum-Yum joyfully prepares for her wedding, she is remind affection." Nanki-Poo loves Yum-Yum, a ward of Ko-Ko the ed that her bliss will be short-lived. Ko-Ko brings news of an Tailor, but has been prevented from marrying her by Ko-Ko, other of the Mikado's laws: when a man is beheaded, his wife who plans to marry her himself. Upon hearing that Ko-Ko has must be buried alive. This gives Yum-Yum pause; if she re been condemned to death for flirting, Nanki-Poo returns to re jects Nanki-Poo, she must marry Ko-Ko at once. If Ko-Ko new his suit. To forestall the Mikado's law that flirting is pun marries Yum-Yum, Nanki-Poo will immediately commit sui ishable by death, Ko-Ko has been released from jail and made cide, thus depriving Ko-Ko of his substitute. If Ko-Ko has no the Lord High Executioner on the theory that "Who's next to substitute ..... Amid the confusion Pooh-Bah announces the im be decapitated cannot cut off another's head until he's cut his minent arrival of the Mikado and his entourage. Ko-Ko de own off." Pooh-Bah, Lord High Everything Else, tells Nanki cides to forge an affidavit saying he has beheaded Nanki-Poo, Poo that Yum-Yum is returning from school to marry Ko-Ko. if Nanki-Poo will agree to marry Yum-Yum and go away. Ko-Ko arrives and recounts the facts of his remarkable ascent Ko-Ko presents the falsified certificate of execution. But the to power. Yum-Yum's friends arrive from school for the wed visitors have come for a totally different matter: they are ding festivities, followed quickly by Yurn-Yum, Pitti-Sing, and searching for Nanki-Poo. When the Mikado reads the death Peep-Boo Inadvertently insulting Pooh certificate he informs the three that they Bah by failing to show the proper re have slain the heir apparent. He accepts spect, the girls apologize, and all except their profound apologies, then an Yum-Yum exit. Seeing Yum-Yum nounces that their punishment - death in alone, Nanki-Poo reveals his true identi boiling oil or melted lead - will take ty. Ko-Ko's happy thoughts on his place after luncheon. Distraught, Ko forthcoming marriage are interrupted by Ko finds Nanki-Poo, who declines to Pish-Tush and Pooh-Bah with a letter marry Katisha since he has married J from the Mikado demanding an execu Yum-Yum. The only solution is for tion within a month. Since Ko-Ko is al Ko-Ko himself to marry the unwanted ready under sentence, he seems to be the lady. Not until the ceremony is per most likely victim unless he can find a formed will Nanki-Poo consent to substitute. Nanki-Poo, having decided "come to life." Katisha at first scorn that life without Yum-Yum is unbear fully rejects Ko-Ko but eventually con able, is about to hang himself when Ko sents to the marriage, secretly delight Ko chances along and recognizes in him ed. When the Mikado appears for the a possible substitute. Nanki-Poo agrees execution, Katisha, now married, pleads to be beheaded in a month on the condi for mercy for Ko-Ko. All ends happily tion that he may marry Yum-Yum imme with a wedding toast. diately. Reluctantly Ko-Ko agrees, and Copyright 2010, Michigan Opera Theatre Jocelyn Wilkes as Katisha and Mary Callaghan I Lynch as Yum-Yum , in MOTs The Mikado, 1982. T H E M I K A D o

GILBERT & SULLIVAN'S THE MIKADO by K. M. Kozlowski

Children are often born into troubled marriages yet it is cessful comic operas had come to an end. The situation interesting to note that the most popular, entertaining was directly resolved by a household accident which and cohesive of all Gilbert & Sullivan offspring was could have inflicted a much more tragic and unrevokable conceived in a time of strife. The union between blow to, not only Gilbert, but the partnership as well. William Schwenk Gilbert (b. 1836) and Arthur Seymour Gilbert, pacing in the library of his new home in Sullivan (b. 1842) produced 14 operettas: Thespis, Trial Kensington that spring, undoubtably brooding about the by Jury, The Sorcerer, H.M.S. Pinafore, The Pirates of conflict which was destroying a once productive relation Penzance, Patience, Iolanthe , Princess Ida , The ship, was jarred from his meditation when a large Mikado, Ruddigore, The Yeomen of the Guard, The Japanese executioner's sword fell from its wall mounting Gondoliers, Utopia Limited and The Grand Duke. and crashed to the floor nearby, narrowly missing the librettist.

Victorian London, in the wake of Eastern The heavy drop of the sword inspired the battle-weary exploration, went into a frenzy regarding dramatist; why not set an opera in Japan, and make the anything Japanese. leading characters the emperor and his public execution er? Gilbert wrote a libretto free of the mayhem that The Mikado was written at a time when relations be Sullivan disliked but still rich in humor, and composer tween Gilbert and Sullivan, which were never more than and librettist were reconciled. amiable in the best of times, were particularly strained. In the lare spring of 1884 the box office for their latest The inspiration was indeed divine, not only for the duo, work, Princess Ida, was falling off, and theatrical impre but for their patron D'Oyly Carte as well. Victorian sario Richard D'Oyly Carte was demanding a new opera London, in the wake of Eastern exploration, went into a to offer theatergoers, not only in England, but stateside frenzy regarding anything Japanese. Sales of Oriental as ' well. Gilbert resurrected a favorite idea of his, in prints and ceramics were brisk in the most fashionable volving the effects of a magic lozenge, an idea which West End stores, and other merchants enjoyed success Sullivan had unceremoniously rejected two years earlier. with both Japanese fabric and dresses. There was even a Once again, the composer vetoed the idea, stating in no Japanese village set up in Knightbridge, complete with uncertain terms that he was fed up with ridiculous plots real geisha girls serving tea in the traditional manner. and topsy-turvy situations and wanted a more straight Gilbert's development of a contemporary piece set in the forward libretto, where the music would not just have to Pacific Islands was incredibly fashionable. And for be subordinate to the D'Oyly Carte, selling the words but could stand on show and the inevitable its own. tie-in merchandise (no, tie-in merchandising is not His partner took these a twentieth century phe statements as a personal nomenon) would be easy, slight, responding, "I can since they were tapping not consent to construct further into popular culture. another plot for the next No woman would want to opera." Sullivan, agitated, resemble Ruddigore's Mad replied "The tone of your Margaret, but accessorizing letter convinces me that y to resemble Gilbert's our decision is final and delectable Mikado heroine therefore further discus Yum-Yum would become sion is useless." D'Oyly a goal of any young Carte, with an eye on the English girl. dwindling coffers, tried desperately to mediate be So, through accident or tween the quarreling duo, happy circumstance, the rift achieving little success. It was temporarily healed or began to look as though was it? Gilbert slyly insert- the partnership which had produced seven very suc- Ca ricature of Arthur Sullivan (left) Copyright 2010, Michigan Opera Theatre I and William S. Gilbert. T H E M I K A D o

ed a gibe to the nouveau riche Sullivan, with a demean out the finer details while Sullivan attended to his poor ing reference in Act I to "the piano-organist." Sullivan health, or sat in attendance in the informal court of the must surely have blanched while setting this line to mu Prince of Wales, sic. His own mother, a penniless girl of Italian origin, had met her future husband when she was accompanying Gilbert worked well with the D ' Oyly Carte players. a London organ- grinder and his monkey, and piano or During the rehearsals for The Mikado, Gilbert offered gans are similar to barrel organs, something Gilbert had some advice to Durward Lely, who was portraying undoubtably noted. Nanki-Poo, with regards to the volume of his delivery on the line "Rapture!" ' Modified rapture,' suggested Although Gilbert enjoyed Gilbert, preferring a this inside joke at lighter decibel of deliv Sullivan's expense, it ap ery. Lely, thinking that pears that the librettist the librettist had amend was not really bothered ed the line, repeated by the composer's ascent "modified rapture". The in London society. The performers, musicians only time Gilbert ever ap and stagehands present peared to have taken in at rehearsal thought the sult with Sullivan's social line funny, and it was re victories was when the tained. Gilbert also con composer was knighted sidered cutting the in 1,883, the honor being Mikado's big number. withheld from Gilbert un Like the doomed til 1907. However un Ko-Ko, "my objective is easy their alliance, all sublime" was spared Gilbert & Sullivan would the ax, thanks to the Sketch of the rhree little maids from The Mikado, on itsjirsr producrion produce other musicals; at the Savoy Theatre, London, 1885. eleventh-hour pleas of and, rather appropriately, I choristers. on the opening night of The Mikado, Ko-Ko staggered onstage carrying Gilbert's executioner's sword. THE NAME GAME The names of Gilbert's Japanese characters, although au OPPOSITES ATTRACT dibly correct to the English-speaking ear in their length How did two such incompatible people manage to stay and inflection, are, for the most part, not oriental, but together for over three decades? Perhaps because, as is satirical. Internationally acclaimed scholar Isaac the case in most mutually dependent of relationships, Asimov, in his "Annotated Gilbert & Sullivan," postu they learned to put their differences aside. lates that Gilbert was tap ping into infant dialogue for The men could not have been more dissimilar. Despite his monikers. his preference for whimsical material Gilbert was orga ni zed and thorough, hi s lyrics were ready long before Asimov noted, "To me, Sullivan began composing. Sullivan had a tendency to 'Titipu' seems clearly baby procrastinate, and even worse, to forget things. Setting talk for a mother's breast. sail for the U.S. to prepare for the Broadway premiere of 'Teat' is a perfectly good The Pirates of Penzance, Sullivan increased his work English word for 'breast,' load ten-fold by forgetting to pack his score. The ink and 'titty' is an obvious af was still drying on opening night, Sullivan having fectionate diminutive. And worked around the clock to re-create from memory the why not? The land one orchestra parts. lives in is thought to be a nurturing parent for its citi Gilbert directed the productions and Sullivan conducted zens. We speak of the the opening night performances. The composer was of 'motherl and' or 'father- ten busy pursuing his 'serious' music, (not to mention the fringe benefits celebrity status provides) and was Yum-Yum,from a popular more than content to let Gilbert direct and co-produce Victorian-era cigarette each work with D'Oyly Carte, allowing the duo to work I card collection. Copyright 2010, Michigan Opera Theatre T H E M I K A D o

land.' The French word for one's land is patre from the Like any responsible parent, William Gilbert put plenty Latin word for 'father,' and that's why we're 'patriotic'." of thought into naming his theatrical children. Although there is little evidence to prove that Gilbert invested in The suffix Pu (and its other spellings of Pooh, or Poo) psychological studies to determine the effect on his char are simple affectionate diminutives, which most are used acters and how others perceive them, the librettist knew by many when addressing babies. that choosing a name was very serious, and certainly no game. The scholar notes that a handkerchief is often abbreviat ed as "hanky," and Nanki-Poo is simply a variation of BANNED IN BRITAIN that. Turning psycho-analytical, Asimov theorizes that Although The Mikado was a satire of the British political "it seems to me to be obvious that it (the name Katisha) system, when performances were banned in England, it is nothing more than a sneeze. A sneeze (Katisha) and a was not because the Brit bureaucrats were offended. handkerchief (Nanki-Poo) naturally come into close, and even intimate contact, don't they?" When the visit of Japan's Crown Prince was announced in England, the Lord Chamberlain ordered an indefinite The names of Yum-Yum and her sisters further validate ban on the operetta, since some considered it offensive to Asimov's idea. If something is delicious, it is "yummy," the Japanese. When it was pointed out that no one ever and as for the sisters, Asimov explains "Peep-Bo is a ba feared offending Denmark with Hamlet. which portrayed by talk game we call it Peek-a-boo most commonly. As the Dane ruler as a murderer, the ban was withdrawn. Of for Pitti-Sing, that's baby talk for "pretty thing"." the incident, Gilbert quipped that 'before long we shall be at war with Japan about India, and they will offer me "Pish" and "tush" are both exclamations of impatient a high price to permit The Mikado to be played.' disgust and contempt. "Pooh" and "bah" have meanings that are precisely like those of "pish" and "tush." If one Fortunately for Gilbert and Sullivan fans, the duo did not noble lord can be Pish-Tush; another' can be Pooh-Bah. exact a high price for the rights to present The Mikado. Through the popularity of The Mikado. Gilbert provided The most popular of the fourteen Gilbert and Sullivan the English-speaking world with some rather enjoyable works, this satire of the British political system has en slang terms; any haughty and pompous official, especial tertained generations of theatregoers worldwide, as every ly if he is short on ability, can be call a "pooh-bah". culture loves romance, and finds humor in both politics and politicians. In his Annotated G&S. Ian Bradley notes that W.S. Gilbert did not draw names out of thin air, rather, his characters' monikers had meaning. "Gilbert had first in THE vented the names he was to give two of his noble lords in D'OYLY CARTE The Mikado in his Bab Ballad "King Borria Bungalee Boo", which first appeared in the magazine Fun in July 1886: "There was a haughty PISH-TUSH-POOH BAH, These was lumbering DOODLE- DUM-DEH ..... For the opera, of course, the name was split and Pish-Tush and Pooh-Bah are separate characters."

Although Ko-Ko might appear to be a corruption of Cuckoo (inferring that someone is slightly crazed) it is actually the only character name in The Mikado to be Japanese. Ko-Ko is said to have over thirty meanings in Japanese, all dependent on the pronunciation. As pro nounced in The Mikado (i.e. with the vowels long so that it sounds like "cocoa"), it can mean pickles, filial piety, succeeding clause, grammarschool, navigation, mine- . D'Oyly Carte playbill shaft or pithead, estuary, prince and marquess, month, I from the 1920s. trussed, girder, bright, or so-so. OPERA COMPANY

Michigan Opera Theatre's Young :" apprentices are rehearsing with main stage Artists Apprentice Program celebrates i artists, receiving private coaching, and its 13th year with the 1991 -92 season. ~ preparing their assigned comprimario roles This fall and next spring, young aspiring ~ for the season's productions. talent recruited from across the country ~ will take up residence with Michigan 0:'" Since its inception, Michigan Opera Theatre Opera Theatre for intensive has been committed to the development of multiple- week sessions of workshops, young American talent, and regards with masterclasses, and many rehearsals and pride those who have gone on to establish performances, designed to assist them in careers in the field. Many singers as well as making the arduous transition from several company production and artistic student to professional. staff members have returned to MOT in full professional capacities after apprenticeships During the 1991-92 season the company with the company. will not only utilize singers, but also production apprentices in the Furthermore, the list of now prominent non-singing areas of stage management, artists who made their debuts or had an early stage direction and costuming. Of the start with MOT is impressive: Carmen 1991 Spring vocal apprentice Gina Lauinger many masterclasses offered annually, "sang endearingly" (Ann Arbor News) Balthrop, Kathleen Battle, Rockwell Blake, apprentices participate in Italian language as Papagena to David Malis' Papageno Richard Cowen, Maria Ewing, Wilhelmenia classes, care of the voice, theatrical in The Magic Flute. Fernandez, Rebecca Luker, Catherine makeup techniques, movement/dance, stage combat and in Malfitano, Leona Mitchell, David Parsons, Kathleen Segar, Neil specialty classes offered with the conductors and singers from Schicoff and Victoria Vergara, among others. current productions in such areas as audition techniques, handling performance anxiety, Alexander Technique, and For further information on auditions and application vocal repertory studies. The Apprentice Program roster of requirements for the 1992 spring Apprentice Program, please instructors from the MOT production and music staff will be dial the MOT Production Office at 313/874-7850. Auditions are enhanced this year by guest teachers from Detroit's held annuall y in Detroit, Dayton, Chicago and New York City . . professional community. When not participating in workshops and masterclasses,

Vocal Apprentices Vocal Apprentices Faculty Guest Instructors 1990-91 Season Fall 1991 1991-92 Season 1991-92 Season Robert Breault Andrew Bird Suzanne Acton Dan Bridston Ann Arbor, Michigan Chicago, Illinois Assistant Music Director German Houses and Fach Tenor Tenor Tim Ocel System Paul Koch Lora Fabio Stage Director, Paola Columbini Chicago, Illinois Cincinnati, Ohio Apprentice Scenes Program Italian Language Baritone Soprano R. Luther Bingaman lane Hierich Gina Lottinger Rachel Laura InseLman Vocal Coach/Accompanist Alexander Technique Ann Arbor, Michigan St. Clair Shores, Michigan Dan Bridston John Michael Manfredi Soprano Soprano Vocal Coach/Accompanist Stage Movement/Combat Steve Simmons Scott lussila Steven Gathman Nira Pullin Ann Arbor, Michigan Birmingham, Michigan Vocal Coach/Accompanist Stage Dances Tenor Baritone lulie Wright Debra McLaren Ann Arbor, Michigan San Diego, California Soprano Soprano Todd E. Ranney Cleveland, Ohio Baritone Miguel Angel Rodriguez Ann Arbor, Michigan Tenor leanne Reavel-Wentworth Pittsburgh, Pennsylvania Mezzo Rebecca Luker, 1983 and 1984 MOT vocal intern, recently starred on Broadway as Chistine in Andrew Lloyd Webber's The Phantom of the Opera. IShe is CIIrrelllly appearing in Broadway's The Secret Garden. Copyright 2010, Michigan Opera Theatre c OMMUNITY PRO G RAM S

From the Hamtramck Nationally, the schools to the Ritz-Carlton Department continues to Hotel, Dearborn, from be a leader in the area of Cranbrook Kingswood accessibility. Tapes for School to the Tri-County the blind have been Arts Council in "The created to give Thumb" of Michigan, background information from Escanaba's Boniface on the operas already Fine Arts Center to the available to the sighted Michigan Theater in audience. The Jackson, the Department Department's work with of Community Programs :;; the deaf community has ~ carries the Michigan ~ included American Sign Opera Theatre name and j Language-interpreted message near and far , performances .of main throughout both stage and Community peninSUlas of the State. Programs productions. Mark Vondrak as" th e big bad 1V0 1f' prepares an alldience oj children and th eir Touring full-length and parents at Southfield's Temple Beth EI Jor a production oj Seymour Barab's one The Department has al so one-act operas, musical act opera" Little Red Riding Hood." given improvisational revues and educational workshops to deaf high programs for all ages, the choreographers, set and costume school students. Staff members of Department also visits neighboring designers, music arrangers, stage the Department serve on community states and Ontario, Canada. managers and technical directors. boards, committees, and on arts Community Programs has council panels, and consult for other "MOT's Community commissioned one-act operas, organizations. For its efforts, the Programs ... the best in what educational revues and in-depth Department has been honored with arts outreach can mean!" research papers. In addition, it has numerous prestigious awards and - Saginaw News produced existing full operas, one commendations nationally and acts and Broadway revues. The throughout the State. Most recently, The Department reaches Department also creates new works. VanderKloot DiChiera received the approximately 125,000 people a year 1990 Governor's Arts Award in with its varied programming and is This year, the Department Education from the State of considered one of the top five opera commemorates the bicentennial of Michigan. outreach departments in the country Mozart's death with a Mozart concert in terms of audience, budget, and and a production of his comic The Department is proud to have annual number of productions, one-act opera The Impresario. been part of the creation of Very performances and educational For children, the Department Special Arts/South East Michigan programs. Community Programs commissioned Community Programs (VSA/SEM). VSA International was provides an average of 350 services Artist Christine Jones to write Let's started by the Kennedy family to annually. Play Mozart. All of these and more provide an impact similar to Special are touring during the 1991-92 Olympics. Today, there are VSA Nationally prominent arts educator season. chapters and festivals all over the and composer Karen VanderKloot world. VSA/SEM was inaugurated in DiChiera is founder and director of May 1990. The new organization the Department, which augments its elected VanderKloot DiChiera as its full-time staff with Chairperson and Community professional singers, Programs' Marketing Manager pianists, stage directors, Dolores Tobis as Secretary.

Artists of the For information on the activities Community Programs of the Department and for booking, Department Mark contact Sales Manager, Vondrak, Chris Jones, Dolores Tobis, 313/874-7894. Karl Schmidt and Maria Cimorelli.

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* As voted by the readers of Business Traveler International magazine. no get uP9rade offer. you must enroll and fly full -fare round- trip to U. K. on British Airways by 12/31/91. ©1991 British AirwaysCopyright 2010, Michigan Opera TheatreBRITISH AIRWAYS The worlds favourite airlinc~ :7 Managed Care. It's A Healthy Change For The Better.

anaged Health Care Here's just some of the choices M fro m OmniCare. and services we offer: It's the health care plan which • 48 participating Metro-area hospitals. allows you to select your own OmniCare-affil iated fa mily phys ician. • 24-hour emergency services - worldwide. Yo ur personal doctor is responsible fo r • More than 1,400 specialists and fa mily directing, or managing, a/I of your health care phys icians. needs. He or she e ncourages regul ar offi ce visits, determines if and whe n speciali zed tests • Full hospital be nefits. or treatment is required, and then makes sure • Full maternity care. that you get the very best care available - a/I • Mental health services. at little or no cost to yo u. In short, OmniCare's managed health care Managed Care from OmniCare. You'll plan does a whole lot more for yo u than simply wonder how yo u ever managed without it. pay ing medical bills. Through well-managed preventive care, it works at keeping yo u healthy.

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Michigan Opera Theatre gratefully acknowledges its generous contributors are offered a number of benefits which allow them to corporate, foundation and individual donors whose contributions were observe the many stages of opera production, meet the artists and made between July I, 1990 and June 30,1991. Their generosity plays experience other "behind the scenes" opportunities. an integral part in the company's financial stability, necessary for For information on becoming involved in these exclusive and producing quality grand opera and musical theatre productions. exciting donor benefits and services contact the Development In addition to enjoying outstanding entertainment on the stage, MOT Department, (313) 874-7850.

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CORPORATE FOUNDATION & SPONSORS GOVERNMENT Allied-Signal SUPPORT Ameritech Publishing, Inc. GOVERNMENT ANR Pipeline Company Michigan Council for the Arts AT&T National Endowment for the Arts Consumers Power Foundation Ford Motor Company MAJOR BENEFACTORS $25,000 and above General Motors Corporation The Skillman Foundation Michigan Bell, an Ameritech Company SPONSORS Royal Maccabees Life In surance $15,000 - $24,999 Company DeRoy Testamentary Simons, Michelson, Zieve Foundation World Heritage Foundation SUSTAINERS $10,000 - $14,999 IN KIND GIFTS Ann and Gordon Getty Harmony House Foundation U.S . Air James and Lynelle Holden Fund Yates Office Supply McGregor Fund The Samuel L. Westerman E. Michael Mutchler and Jack Martin. Vice Chairman and Foundation Chairman a/the 1991 CO/porate Campaign at the Victory David M. Whitney Fund celebration last May. Matilda R. Wilson Fund I PATRONS DONORS CONTRIBUTORS $2,500 - $9,999 $1,000 - $2,499 $500 - $999 Hudson-Webber Foundation The Kroger Company Drusilla Farwell Foundation Ralph and Winifred E. Polk Foundation Alice Kales Hartwick Foundation Lillian H. and Karl W. SCOI! Foundation Meyer and Anna Prentis Family Foundation The Clarence and Jack Himmel Foundation, Inc. The Quaker Chemical Foundation World Heritage Foundation Foundation The Village Woman's Club Young Woman's Home Wi lkinson Foundation Association

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IMPRESARIO CIRCLE MAJOR BENEFACTORS Dr. and Mrs. Donald C. Austin Mr. & Mrs. Lawrence LoPatin $10,000 and above $5,000-$9,999 Mr. & Mrs. Mark Alan Baun Mrs. Ruth Mott Mr. & Mrs. J. Addison Bartush Dr. & Mrs. Agustin Arbulu Mr. & Mrs. W. Victor Benjamin Mr. & Mrs. Robert T. O'Connell Mr. & Mrs. Robert E. Dewar Mr. & Mrs. Philip E. Benton, Jr. Mrs. Martin L. Butzel Mr. & Mrs. Harold A. Poli ng Dr. & Mrs. Sam B. Williams Mr. & Mrs. George Strumbos The Honorable Dominick Mr. and Mrs. Richard H. Rogel Mr. & Mrs. Lynn A. Townsend Carnovale Mr. & Mrs. David P. Ruwart Mr. & Mrs. Robert C. Mr. & Mrs. Thomas Cohn Mr. & Mrs. Fred C. VanderKloot Dr. & Mrs. David DiChiera Schneidewind Mr. & Mrs. R. Jami son Williams Mr. and Mrs. Cameron B. Duncan Mr. & Mrs. Donald E. Mr. & Mrs. R. Alexander Mrs. Hilda R. Ettenheimer Schwendemann Wrigley Mr. & Mrs. Max M. Fisher Mr. Richard A. Sonenklar Mrs. Aaron Gershenson Monika & Charles Taylor BENEFACTORS Mr. & Mrs. Nvart S. Hampikian Mr. & Mrs. James J. Trebilcott Mr. & Mrs. Preston B. Happel Mr. & Mrs. George C. Vincent $2,500-$4,999 Doreen and David B. Hermelin Dr. & Mrs. Roger M. Ajluni Dr. & Mrs. Richard W. Kulis

Mr. & Mrs. Donald E. Worsley Ms. Reva Kogan Mr. & Mrs. Paul L. Nine Mr. & Mrs. Lloyd A. Zantop Mr. & Mrs. Karl A. Kreft Mr. and Mrs. Jules L. Pallone Dr. & Mrs. Alfred Kreindler Mr. & Mrs. Brock E. Plumb SUSTAINERS Mr. & Mrs. Ronald C. Lamparter Mr. & Mrs. Eugene C. Robelli $1,000-$1,499 Mr. & Mrs. Walton A. Lewis Mr. & Mrs. Hans Rogind FELLOWS Anonymous Dr. & Mrs. Kim K. Lie Drs. David & Sheila Ronis $1,500-$2,499 Mr. & Mrs. Edmund Ahee Dr. & Mrs. Robert P. Lisak Mr. & Mrs. Louis R. Ross E. Bryce and Harriet Alpern Mrs. Judson B. Alford John and Julia Long Dr. & Mrs. Norman R. Schakne Foundation Mr. & Mrs. Robert A. Aliesee Dr. & Mrs. Henry W. Maicki The Hon. Joan E. Young and Mr. Dr. Lourde~ V. Andaya Mrs. Maxine W. Andreae Mr. and Mrs. Harold M. Marko Thomas L. Schellenberg Mrs. Robyn J. Arrington Mrs. James Merriam Barnes Mr. Norm an F. Marsh Mr. & Mrs. Richard Sloan The Hon. and Mrs. Edward Mrs. CarlO. Barton Mr. & Mrs. John W. Martin, Jr. Norman & Sylvia Gershenson Avadenka . Drs. John and Marilyn Belamaric Mr. David W. McComb Sloman Mr. Charles A. Bishop Mr. & Mrs. William A. Bell, II Mrs. Wade H. McCree, Ir. Mr. & Mrs. A. Alfred Taubman Mr. & Mrs. Donald J. Bom, Jr. Mr. & Mrs. Mandell L. Berman Mr. & Mrs. Eugene A. Miller Mr. Alan E. Teitel Mr. & Mrs. Bernard T. Brodsky Mr. & Mrs. William Betz Mr. & Mrs. Morkus Mitrius Mr. & Mrs. C. Thomas Toppin The Hon. Avern L. Cohn Dr. & Mrs. John G. Bi elawski Mr. & Mrs. Carl Mitseff Mr. & Mrs. Richard C. Webb Shelly and Peter Cooper Mr. John I. Bloom Mrs. Thomas F. Morrow Dr. Marilyn L. Williamson Mr. & Mrs. Rodkey Craighead Mr. & Mrs. Gerald Bright (memorium) Mr. & Mrs. Eric A. Wiltshire Mr. & Mrs. Richard Cregar Ms. Nancy Carmichael Mr. & Mrs. E. Clarence Dr. & Mrs. Clyde Wu Mr. & Mrs. Ernest S. Curtis Dr. & Mrs. Victor J. Cervenak Mularoni Mr. & Mrs. Morton Zieve Mr. & Mrs. John W. Day, Ir. Ms. Virginia Clementi Mr. & Mrs. E. Michael Mutchler Mrs. Lucia Zurkowski Lady Easton Margo & Maurice Cohen Benson & Edith Ford Fund Dr. Mary Carol Conroy Mr. & Mrs. Edward P. Frohlich Mr. & Mrs. Robert N. Derderian Mr. & Mrs. John C. Griffin Mr. & Mrs. Lawrence Mrs. Robert M. Hamady Dickelman, Jr. Mr. & Mrs. Hugh G. Harness Mr. & Mrs. Frank W. Donovan Mr. & Mrs. E. Jan Hartmann Mr. & Mrs. Max M. Dubrinsky "A magical 'Flute' ...thefanciful David Hockney sets Mr. & Mrs. Frederic H. Hayes Mr. & Mrs. Raymond J. Eifler and pert direction by Jay Lesenger gave no end of Mr. & Mrs. James A. Hollars Mrs. Charles M. Endicott delight." - The Kansas City Star Mrs. Roger W. Hull Mr. & Mrs. Paul E. Ewing Mrs. David Jacknow Mr. & Mrs. Stephen Ewing Mr. & Mrs. Leonard C. Jaques Mr. & Mrs. Lloyd C. Fell Mi ss H. Barbara Johnston Margaret K. & Charles T. Fi sher Mr. & Mrs. Maxwell Jospey III Fund Mr. & Mrs. Eugene Klein Mr. & Mrs. Michael R. Fisher Mr. & Mrs. William Ku Mr. & Mrs. Samuel Frankel Mrs. Leonard T. Lewis Mr. & Mrs. Roger Fridholm Mr. Jack & Dr. Bettye Arrington Mr. & Mrs. Michael J. Friduss Martin Mr. Hidezo Fujiwara Mr. & Mrs. William T. Dr. & Mrs. Pierre Giammanco McCormick, Jr. Mr. & Mrs. Keith E. Gifford Mr. & Mrs. Daniel Medow Mr. & Mrs. Vito P. Gioia Mr. & Mrs. Robert S. Miller, Jf. Mr. & Mrs. Alfred R. Glancy III Mr. Edwin Lee Morrell Mrs. Louis C. Goad Mr. & Mrs. Marco Nobili Mr. & Mrs. Alan L. Gornick Dr. & Mrs. P. E. Perkins Mr. & Mrs. H. James Gram Mr. Jack E. Perry Dr. & Mrs. Joel I. Hamburger Mr. & Mrs. Kenneth A. Pickl, Jr. Dr. & Mrs. Joseph Harris Mr. & Mrs. David Pollack Mr. & Mrs. David Hill Mr. & Mrs. Irving Rose Melodee A. DuBois & James N. Dr. & Mrs. Arthur Schultz Huntley Mr. & Mrs. Alan E. Schwartz Mr. & Mrs. Verne G. lstock Mr. & Mrs. S. Kinnie Smith, Jr. Mr. & Mrs. Wesley R. Johnson Mr. & Mrs. Richard D. Mr. & Mrs. Thomas G. Kirby Starkweather Mrs. Mary E. Kirchman Walter MacNeil as Tamino with enchanredfriends in MOT's 1991 Mrs. Mark C. Stevens Mr. & Mrs. Semon E. Knudsen production o/The Magic Flute, designed by David Hockney. Mr. Gary L. Wasserman I Mr. & Mrs. Gary L. White Copyright 2010, Michigan Opera Theatre Mrs. Isadore Winkelman c o N T R I B u T o R s

Gertrude D. Bonk Mr. Donald Becker and Ms. Joan ORCHESTRA CIRCLE Mr. and Mrs. Mon Crim Mr. and Mrs. Abraham J. Boone Rivelis $500-$999 Dr. and Mrs. Victor Curatolo Ms. Mary Borycki Ms. Alice L. Rodriguez Anonymous Mr. and Mrs. Edward P. Czapor Ms. Deborah Lea Bradley LaRae and Keith Danielson Mr. William J. Roosen Mr. Kevin Lee Branshaw Mr. William R. Aikens Dr. and Mrs. David B. Rorabacher Mr. William R. Darmody Dr. Larry L. Bronson Dr. Harold Mitchell ArringlOn Mr. and Mrs. Leslie Rose Mr. William 1. De Biasi Mr. Stephen C. Brownell Dr. Robyn J. Arrington, Jr. Mr. and Mrs. Marvin Rosenthal Mr. Edwin A. Desmond Mr. Larry B rund_ge Dr. and Mrs. David H. Barker Mr. Hugh C. Ross Sam and Louise Deutch Mr. C. Henry Buhl Mr. and Mrs. Lee Barthel Mr. and Mrs. Diaz Ms. Marion E. Ryan Mr. and Mrs. Johannes A. Buileweg Dr. and Mrs. William H. Salot Dr. and Mrs. David Bloom Miss Ruth G. Doberenz Ms . Miriam Bureson Mr. and Mrs. Wayne Salow Dr. and Mrs. Mallhew L. Burman Dr. Jennifer Boehm Dressman Mr. and Mrs. David M. Burnett. Jr. Dr. and Mrs. Hershel Sandberg Dr. Joseph L. Cahalan Mr. and Mrs. George P. Duensing Mr. and Mrs. Lester Burton Ms. Takako June Sasaki Mrs. Saul H. Dunitz Mr. Dale A. Buss Mr. and Mrs. Roy E. Calcagno Mr. and Mrs. Andrew M. Savel Mr. and Mrs. Peter Dusina Dr. and Mrs. John D. Butler Mrs. Richard M. Cuddohy Mr. and Mrs. H. Schelberg Ms. Anne Edsall Mr. and Mrs. Roger C. Byrd Steve and Virginia Djelebian Mr. Alan Schmidt Mr. and Mrs. Abram Epstein Mi ss Helen H. Cannon Mr. and Mrs. Mark Schmidt Mr. and Mrs. John R. Edman Ms. Doris B. Erickson, DVM Dr. and Mrs. Jesse 1. Cardelli o Mr. Laurence S. Schultz Mr. Mervin W. Eisen Mr. and Mrs. Robert B. Fair, Jr. Mr. and Mrs. Samuel A. Cascade Mr. and Mrs. William E. Scollard Mr. and Mrs. Laurence Elliott Ms. Evelyn J. Fisher, M.D. Mr. Cli fton G. Casey Mr. Fred Sechheimer Mr. Albert Febbo Ms. Ann M. Flanders Mr. Richard W. Casselman Mr. and Mrs. Harry S. Ford, Jr. Lois and Mark Shaevsky Mr. and Mrs: John B. Ford III Ms. Carol Chadwick Mrs. Anthony C. Fortunski Ms. Ellen Sharp Ms. Eleanor A. Christie Mr. and Mrs. Richard Freedland Peter and Sharon Silveri Ms. Phyllis Foster Mr. and Mrs. Herbert Christner Mr. David M. Fried Dr. and Mrs. Harold K. Skramstad, Jr. Mr. Benjamin Frank Mr. Charles H. Clark Mr. and Mrs. Byron H. Gerson Mrs. Barbara Frankel Mrs. Alma J. Snider Dr. and Mrs. Voln_ Clermont Phyllis Funk Snow and Dr. J. Stuart Miss Mary A. Hester Mr. Joseph 1. Franzem Co·Ette Club, Inc. Young Mr. Lloyd Heussner Ms. Linda Freeze Ms. Judith Collier Dr. and Mrs. Roben J. Sokol Ms. Mary Bartush Jones Dr. and Mrs. William R. Fulgenzi Mr. and Mrs. Michael Collier Mr. and Mrs. Leonard Sollar Mr. and Mrs. Henry Ledyard Mary Ann Fulton, J. D. Ms. Jane Colsher Mr. and Mrs. Giorgio G. Sonnino Dr. and Mrs. Robert Galacz Mr. and Mrs. James M. Colville Mr. and Mrs. Albert Lewellen III Dr. and Mrs. W.P. Sosnowsky Dr. and Mrs. Byron P. Georgeson Mr. and Mrs. Henry C. Conerway. Sr. David and Kathleen Lewis Mrs. John Spencer Mr. James J. Gibbs Ms. Constance R. Cook Dr. and Mrs. Robert E. Mack Mr. and Mrs. Stephen M. Sweeney Mr. Allan D. Gilmour Mr. and Mrs. Claude H. Cooper Mr. and Mrs. William Templeton Ms. Jean Mawdesley Dr. and Mrs. Leonard Glinski Mr. and Mrs. David Cooper Mr. and Mrs. William B. Ten Eyck Dr. and Mrs. Lucius May Ms. Gloria D. Green Warren W. Cowan, DDS Tuesday Musical of Detroit Dr. and Mrs. Anthony B. Michaels Dr. and Mrs. Leslie M. Green Mr. and Mrs. Leonard J. Crayle Dr. and Mrs. George J. Viscomi Bruce and Dorie Miller Mr. Henry M. Grix Ms. Ethel Culver Mr. Michael Vogel Mr. and Mrs. Joseph Gualtieri Mrs. Amy Cutler Mr. and Mrs. Fred t.1organroth Dr. and Mrs. Richard H. Walker Susana and Gary Guenin Mr. and Mrs. Donald Cutler Mr. and Mrs. Eino Nurrne Mr. and Mrs. Cyrus H. Warshaw Mr. and Mrs. Berj H. Haidostian Mr. and Mrs. Douglas E. Cutler Mr. Michael W. Pease Mr. J. Ernest Wilde Dr. and Mrs. Charles M. Hamilton Ms. Linda D'Errico M~rgaret Mrs. Shelly F. Williams and Robert Reilly Fund Dr. and Mrs. Quentin Hamilton Mr. and Mrs. Nicholas Dacko Mr. and Mrs. Roy Wilson. Sr. Mr. and Mrs. Norman Rosenfeld Mr. and Mrs. Leslie R. Hare Mr. and Mrs. William J. Davis Ms. Hildegard Wintergerst Dr. Wayne J. Ruchgy Ms. Mary C. Harms Mr. and Mrs. Richard DeB ear Mr. Joseph Schwartz Dr. and Mrs. Charles F. Hartley Mr. William W. Wotherspoon Dr. Charles and Susanna Defever Mr. and Mrs. T. Wallace Wrathall Mr. and Mrs. Frank C. Shaler Dr. and Mrs. Jack H. Hertzler Mr. Kevin S. Dennis Mrs. Minoru Yamasaki Ms. Kriss B. Hilborn Mr. Eugene G. Dewandeler Dr. and Mrs. Les I. Siegel Ms. Louise Hodgson Mr. and Mrs. Donald E. Young Mr. and Mrs. William H. Smith Mr. and Mrs. Ercole Di Stefano Esther and Ben Jones Mr. James P. Diamond Mr. and Mrs. Robert C. Stempel Mrs. Joyce Ann Kelley SUPPORTER Dr. and Mrs. Herben H. Dobbs Mr. Robert Sutphen Eleanor and Harvey Kline $120-$499 Mrs. Helene Dobryden Dr. and Mrs. Murray L. Thomas Mr. and Mrs. Natalio Kogan Anonymous Hon. and Mrs. Martin Doctoroff Miss Mary M. Abbott Mrs. Richard Van Dusen Mr. James F. Korzenowski Mrs. Carole A. Dolan Dr. and Mrs. Ronald L. Vander Dr. Alan and Eleanor Lakin Mr. and Mrs. James S. Adams Mrs. Harold Doremus Mr. and Mrs. R. Douglas Adams Mr. and Mrs. Lee E. Landes Mr. and Mrs. Harry M. Dreffs Molen Mr. and Mrs. Thomas B. Adams Mr. and Mrs. Geoffrey Lanning Arnie Taylor, Ph.D. Mr. James J. Vlasic Dr. and Mrs. Julian Alvarez Mr. and Mrs. Richard M. Larson Dr. and Mrs. Charles H. Duncan Dr. Estelle Wachtel-Torres Mr. Augustine Amaru Miss Elizabeth A. Long Mrs. Thomas A. Dunlap Mrs. Mary M. Anderson Mrs. John D. Wheeler Mr. Earle D. Lyon Mr. and Mrs. Irv Dworkin Dr. and Mrs. Eduardo Arciniegas Mr. Walter J. Wilkie Mr. Lou Mair and Friend Ms. Shirley Eder Joseph Arena Mr. Kenneth G. Manuel Dr. Dr. William P. Edmunds Mr. and Mrs. Harold Arnoldi LUMINARY Dr. and Mrs. Josip Matovinovic Dr. and Mrs. C. Rupert L. Edwards Ms. Gerald ine Atkinson $250-$499 Ms. Katherine McCullough Mr. and Mrs. William H. Ehlh ardt Mr. Henry Auslander Anonymous Mr. and Mrs. Stanley McDonald Judge and Mrs. S. J. Elden Fred and Erica Baer Mr. and Mrs. William J. Adams Dr. Thomas G. McDonald Drs. Blenda J. Wilson and Louis Fair, Jr. Ms. Doris Bailo Mr. and Mrs. Edward F. Allwein Mr. David McNab Dr. and Mrs. Jatil Farah Mr. and Mrs. Eugene Balda Mr. and Mrs. Richard P. Barnard Mr. and Mrs. Harold A. Meininger Mr. and Mrs. Thomas E. Fast Ms. Patricia Ball Dr. and Mrs. Robert A. Barron Ms. Lynne M. Melly Mr. and Mrs. Otto Fauth Mr. Stanislaw Bialoglowski Dr. and Mrs. O. J. Miller Mr. and Mrs. Anthony Barclae Ms. Maureen Fedeson Dr. and Mrs. Eric Billes Mr. and Mrs. Stanley Millman Mr. Roben A. Bamhan Dr. and Mrs. Charles H. Feinman and Mrs. Jacques Beaudoin Mr. and Mrs. Gene Blanchard Dr. and Mrs. Van C. Momon Jr. Dr. Herben and Suzanne Feldstein Dr. and Mrs. Hugh Beckman Mr. Robert S. Boris Mr. Ronald K. Morrison Mr. and Mrs. Jerome Fellrath Mrs. Jack Beckwith Marguerite Boyle Mr. and Mrs. Adolph J. Neeme Ms. June M. Ferguson Ms. Ruth Bozian Dr. and Mrs. Moon J. Pak Mr. Dean Bedford, Jr. Dr. and Mrs. Lionel Finkelstein Hon. and Mrs. Roben D. Bennett Dr. and Mrs. Sander J. Breiner Mr. and Mrs. William C. Panzer Mr. and Mrs. Theodore A. Firaneck Ms. Sondra L. Berlin Mr. Marc R. Bruns Miss V. Beverly Payne Mr. John C. Fitch Mr. and Mrs. James F. Beverlin Mrs. J. Lawrence Buell, Jr. Ms. Maria Penna Ms. Margaret M. Fitzpatrick Mr. Francis Bialy Ms. Mary C. Caggegi Mr. Paul J. Perieira Ms. Shirley M. Aanagan Mr. and Mrs. Maurice S. Binkow Mr. and Mrs. Robert G. Campbell Drs. Eugene and Jane Perrin Mr. John Aeming and Mrs. John R Birmingham Dr. Barbara D. Chapman Mr. and Mrs. Harry C. Philp Dr. Mr. and Mrs. William F. Flournoy Mr. Svein Bjorkly Mr. David L. Chivas Ms. Joann Pietrowski Janet A. Forgione Mr. and Mrs. Saul Blackman Ms. Diane E. Clark Dr. and Mrs. Kenneth E. Pitts Mr. Earl A. Foucher Ms. Kimberley Cleveland Dr. and Mrs. Peter J. Polidori Mr. Milan Blaha Mr. and Mrs. Harold L. Frank Ms. Isabel Blanchard Mr. and Mrs. Sheldon S. Cohn Ms. E. J. Pollock Ms. Josephine E. Franz Mr. and Mrs. Jerry M. Blaz Mrs. Beverly Colman Mr. and Mrs. Hughes L. Potiker Mark and Julie Frentrup Lea and Paul Blizman Ms. Ellen R. Cooper Drs. Renato and Daisy Ramos Ms. Catherine Fridson Dr. and Mrs. Arthur Blumenstock Mr. and Mrs. George 0 Cowie Mr. and Mrs. Henry C. Reimer Ms. Eula Fyke and Mrs. Jason H. Bodzin Mr. and Mrs. Wallace W. Creek Mr. and Mrs. D. Clyde Riley Dr. Mr. and Mrs. Earl Gabriel Copyright 2010, Michigan Opera Theatre c o N T R I B u T o R s

Mr. and Mrs. Maxwell T. Gail Ms. Ludmila F. Kruse Mr. and Mrs. Anthony Opipari Dr. Sheldon and Jessie Stem Mr. Julio Garcia Mr. and Mrs. Richard P. Kughn Dr. and Mrs. Jesus Ortega Mr. and Mrs. Daniel M. Stewart Mr. Carl Gardecki Dr. and Mrs. Richard L. LaMont Rev. Thaddeus J. Ozog Mr. and Mrs. Frederick Stickel Mrs. Ann K. Gardner Ms. Kay Laehn Mr. Gary Pagura Mr. and Mrs. C. F. Stimpson, III Dr. Herbert and Margot Gardner Dr. and Mrs. Robert M. Landsdorf Ms. Chan Kee Park Dr. and Mrs. Mack C. Stirling Mr. and Mrs. Ernest T. Gaston Mr. John Jeffrey Lane Mr. and Mrs. Edgar E. Parks Mr. and Mrs. Gerald H. Stoll man Mr. and Mrs. John R. Genilli Mr. and Mrs. Clinton D. Lauer Mr. and Mrs. Jacque Passino Mr. and Mrs. Robert Sweeten Dr. and Mrs. John A Geralt Mr. and Mrs. John M. Lazar Mr. and Mrs. Arthur J. Pawlaczyk Ms. Sheila Switzer Mr. and Mrs. Ru ssell L. Gilpin Mr. and Mrs. Arthur J. leMire Lorene G. Wil son Ms. Sharon Szymczyk Dr. and Mrs. Joel Goldberg Mr. David Leader Marjorie Peebles-Meyers, MD. Mr. and Mrs. N. J. Tabor. Jr. Mr. and Mrs. Martin Goldman Bruce and Susan Leitman Dr. and Mrs. P.c. Pesaros Miss Mary Ellen Tappan Dr. and Mrs. Paul Goodman Mr. and Mrs. Bruno Leonelli Miss Esther E. Peters Mr. and Mrs. Burt E. Taylor Mr. and Mrs. E. Thomas Gorcyca Dr. Leonard H. and Mrs. Lorraine Lerner Dr. and Mrs. L.J. Peterson Mrs. William A. Ternes Mr. Harold Gordon Mrs. Jean Levasseur Ms. Luba Petrusha Mrs. Nona E. Thompson Ms. Jane A. Graf Mr. and Mrs. Albert Levenson Mr. and Mrs. Phillip Pharmer Mr. and Mrs. Donald M. D. Thurber Dr. and Mrs. Jure Grahovac Anna and Yale Levin M s. Irene Piccone Mrs. Dorothy Alice Tomei Mrs. H. James Gram Ms. Gloria Levine Mr. and Mrs. Richard A. Place Mr. Wall Tomyn Mr. Joseph D. Greiner Dr. Richard A. Levinson Ms. Carol Pochron Mr. and Mrs. Franz Topol Dr. and Mrs. John N. Grekin Ms. Judith A. Lindsay Mr. and Mrs. Edward L. 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Vincent Mr. Natan Harpaz Mrs. Rita MacGregor Mr. and Mrs. John W. Reddy Ms. Anna Vitello Stephen G. and Mary Anna Harper Mr. and Mrs. Edwin R. MacKethan Mr. and Mrs. John H. Redfield Mr. Donald Edward Walker Mr. and Mrs. James G. Hartrick Ms. Malvina Machrik Ms. Collen Redman Mr. and Mrs. G. r. Walrod Ms. Barbara Hawes Archbishop Adam J. Maida Mr. Harold N. Re id Mr. and Mrs. Jonathan T. Wallon Mr. and Mrs. J. Theodore Heney Drs. Harris and Phoebe Mainster Dr. and Mrs. Arthur G. Rendziperis Mr. and Mrs. Ching Wang Ms. Ann Heier Mr. R. M. Major Mr. and Mrs. John B. Renick Ms. Evelyn A. Warren Mr. and Mrs. Gharles L. Henritzy Mr. and Mrs. George Mallos Mr. and Mrs. John J. Riccardo Mr. John Washington Mrs. Thomas H. Hewlell Mr. and Mrs. Joseph Maniscalco Mr. Clifford Rice Mr. and Mrs. Paul F. Wasielewski Mrs. John T. Higgins Mrs. Jessie B. Mann Ms. Janine Richardson Mr. Richard Webb Mr. Mason Himelhoch Mrs. Aorine Mark Mrs. Lloyd A. Richardson Dr. and Mrs. Lawrence M. 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Johnson Mr. Albert A. Miller Rev. Jay J. Samonie Mr. and Mrs. Do Syng Yoon Dr. and Mrs. Gage Johnson Ms. Anita L. Miller Mr. and Mrs. William Sandy Mr. Karl Laval Young Mr. and Mrs. Henry Clyde Johnson Mr. Eugene T. Miller Dr. Maril yn Sauder Ms. Toya Young Mr. Michael R. Johnson Mr. and Mrs. Joseph R. Miller Dr. and Mrs. L. Boyd Savoy Mr. Joseph J. Zafarana Mr. and Mrs. Perry Johnson Ms. Halina Minadeo Mr. and Mrs. E. W. Scanes Mrs. Joseph R. Zanelli Ms. Marie M. Jones Dr. and Mrs. Harvey Minkin Mr. James Scarborough Ms. Anne C. Zaragoza Mr. Sterling C. Jones, Jr. Mr. and Mrs. Philip S. Minkin Mrs. John S. Scherer Mr. and Mrs. Hezekiah E. Zeiber Mr. Jefferson L. Jordan Ms. Ingeborg Winterstein Miraval Drs. Theodore and Michelle Schreiber Dr. and Mrs. Petras Zernalis Mr. Raymond H. Jordan Mr. and Mrs. Phillip M. Mislrella Mr. and Mrs. Kingsley Sears Mr. Scott Jorgenson Mrs. John K. Mitchell Mr. and Mrs. Ray Shapiro GIFTS IN Mr. Robert P. Judd Mr. John R. Moan Dr. Elias A. Shaptini MEMORY OF Mr. and Mrs. Albert Kabak Miss Holly S. Montague Miss Firial Shayota JEROME M. FRIEDMAN Mr. and Mrs. Herman Kaplan Ms. Wanda Montibeller Mr. and Mrs. Roger Sherman Mr. and Mrs. Garry Kappy Mr. and Mrs. Charles R. Moon Ms. Deborah Shoop by the Potiker Family Mr. Bradley Keith , Jr. Dr. and Mrs. Coleman Mopper Mr. and Mrs. Raymond J. Shuster RUTH VANCE Mrs. Patricia J. Kellogg Mr. Robert L. Morency Ms. June A. Siebert by Mr. and Mrs. Donald M. D. Dr. Annetta R. Kelly Mrs. H. Morita Mr. and Mrs. Lewis Siegel Mr. and Mrs. Daniel J. Kelly Mr. and Mrs. Cyril Moscow Mr. and Mrs. Harold Singer Thurber Dr. and Mrs. John J. Kelly Dr. Martin Moss Mr. and Mrs. N. R. Skipper, Jr. DORIS P. KOCH Mr. and Mrs. Sidney Kelly Mr. and Mrs. Earl A. Mossner Dr. Robert F. Sly by Mr. and Mrs. Heinz C. Krause Mrs. Helen A. Keydel Mr. Donald A. Naftel Mr. and Mrs. Kurt B. Smith Mr. and Mrs. Norman L. Kilgus Mr. Demetris G. Nakis Mr. and Mrs. Lawrence Smith Mr. David Kinsella Ms. Carlene S. Nehra Mr. Martin Smith ANNIVERSARY GIFTS Mr. and Mrs. John A. Kirlin Mr. and Mrs. George M. Newton Mr. Raymond C. Smith IN HONOR OF Mr. and Mrs. Donald A. Knapp Mr. and Mrs. Donald Nitzkin Ms. Susan M. Smith The 35th wedding anniversary of Mr. Werner H. Kneisel Dr. and Mrs. Timothy T. Nostrant Mr. and Mrs. Nathan D. Soberman Mr. and Mrs. SAM WILLIAMS Dr. and Mrs. Lester J. Kobylak Mr. and Mrs. Stanley Nowakowski Dr. and Mrs. L. E. Solberg by Mrs. Frederick Cody and Mrs. Mr. and Mrs. Nicholas P Kondak Mr. and Mrs. Peter Nunez Mr. Leonard L. Sommers Phyllis and Selma Kom Mrs. Frances C. Nyquist Dr. and Mrs. Victor G. Sonnino Thomas Torgerson Rev. Ralph E. Kowalski Mr. and Mrs. James E. O' Brien Mrs. Ellen P. Sparks The 50th wedding anniversary of E.J. Kozora, M.D. Ms. Jo Ellen Odom Mr. and Mrs. Michael Sperl Mr. and Mrs. FRED Mr. Kenneth C. Kreger Mr. David L. Oistad Ms. Eugenia Staszewski Mr. and Mrs. John A Kruse Mr. Frank Okoh Miss Wanda Staszewski SCHNEIDEWIND by Mr. and Mrs. Donald E. Copyright 2010, Michigan Opera Theatre Schwendemann WE PROMOTE OFFICE RECYCLING

WE SELL RECYCLED HATS OFF OFFICE PRODUCIS TO AND MICHIGAN OPERA! PRoDUcrs To HELP You Wm-I YOUR OFFICE RECYCLING PROGRAM

DETROIT ATHLETIC CLUB

There's ALittle Bit for fine furs from Paris and Milan, Of Ball Park• New York and Montreal. InE Lazare's has one of the largest selections in the DetroitfWindsor Make area - including the styles of We . Christian Dim, Grosevnor and Zuki. You'll find excellent vaJues, with full premium on the U.S. doll ar and no duty or sales tax.

ball'" . . parl<®GRlI.I1MSrER ®HlGR4DE'S ®5¥i . -: ~ 1989 Hygrad e Food PrOd. Corp .. Detroit Brard ® Copyright 2010, Michigan Opera Theatre G u I L D A L L I A N c E DON'T JUST GO TO THE OPERA ... GET TO KNOW THE OPERA ...

Michigan Opera Theatre Guild Alliance volunteers work Office Volunteers - help with mailings, data entry, filing, behind the scenes with one of the nation's premier opera etc. for both Michigan Opera Theatre and the Guild Alliance. companies to help bring the magic of opera to life! Office workers are needed on an on going basis, as well as for Individual, family, junior (under 21) and senior (over 65) special projects. memberships are available for opportunities in the following Bacchantes - young professionals group, designed to areas: introduce new people to the exciting world of opera through Opera Boutique - a gift shop offering select opera related performance, social activities, and educational opportunities. items - CDs, opera calendars, t-shirts, mugs, aprons, etc. Founding Guild - plans a vast array of special events for currently operates in the theatre lobby during productions. fun and fundraising, ranging from opening night dinners to MET Auditions - the Detroit District competition of the opera lectures to marathon races. Metropolitan Opera Movers - dedicated to Auditions are conducted providing transportation by Michigan Opera for visiting artists, and Theatre volunteers each when needed, to serve as fall. Aspiring young translators as weB. singers compete before renowned judges for the Membership - recruit opportunity to advance to and coordinate an active the regional, and then to and happy corps of the national competition. volunteers. Work on membership brochures, Opera Attic - A resale plan recruitment, etc. shop located in the Grand Circus building, open two For information on the days a month. Sells various volunteer donated collectibles to opportunities at Michigan benefit Michigan Opera Opera Theatre, call Theatre. Nancy Carmichael at 313/874-7850. Catalog - A mail order catalog offering select boutique items as well as The Michigan Opera Theatre Founding Guild held an elegal/l oriental-inspired dinner at the Rattlesnake Club preceding opening some unique gifts for night of Madam a Butterfly last season. Hosts and Chairmen Carole special people and special Wendzel (I.) and Vicki Kulis with Jules Pal/one, president of the occasions. evening's sponsor Royal Maccabees Life Insurance Company, admire a collection of oriental textiles displayed for the event.

V o L U N T E E R S

Sharon Gioia Marianne Endicott Barbara Homan David W. McComb Karen Schultes President of the Elizabeth Evans Gretchen Hovis Virginia McKendrick Arthur and Lorraine Guild Alliance Mary Sue Ewing Kurt Howard John Meindt Schultz Nancy Albert William and Ethel Farber Peggy Huffman Freda Mendelson Terry Shea Heidi Alden Robert Feldman Eugene and Dorothy Jeffrey Montgomery Lee William Slazinski Nan Alexander Barbara Fiddler Ignasiak Lois Moore Margaret L. Smith Margaret Allesse Stanley Fields Ilene Intihar Nancy Moore William King Springen Phyllis Arango John Fleming Rhoda Isner Bud and Jacque Mularoni Roberta Starkweather Frank S. Arvai Ozell Flounory Sandra Jamian Peter Northcott Ron Switzer Connie L. Bazanski Shelly Fogelman Alice Johnston Ruth Parent Jim Szurek Shari Besler Sy Fontaine Karin Kaasik Arthur and Jeanette Lois Teicher Mrs. James J. Bird Elaine Fontana Vicki Kulis Pawlaczyk Jeffery and Lisa Mr. and Mrs. Giovanni Julie Forbes Jan Lang Dr. Robert Perkins Toenniges Bolgiani Sally Forbes Sister Celine Lesinski Mary Pyant Thomas Toppin Betty Bradley Patty Fox Helen Levandovsky Ruby Randall Evelyn Warren Alex Brown Ruth Fruehauf Albert and Patricia James Reese Ben and Audrey Oli ve King Bruckman Annand and Eleanor Lewellen Dr. Jeffery Reider Weinberg Rick Cannody Gebert Margaret Linder John J. Reilly William Welke Clifton G. Casey Bob and Betty Gerisch David Llewellyn Eugene and Maria Robelli Carol Wentzel Carol Chadwick Jim Gibbs Fila Lulgjuraj Joanne B. Rooney Natalie Wicks Kim Ciolek Patricia A. Godleski Catherine ~acCarroll Elaine Ross Florence Williams Virginia Clementi Helen Gordon Faith A. MacLennan Gerald and Connie Ross Roy Wilson, Sr. Peter and Shelly Cooper Grovenor N. Grimes Michael Madigan Dolores Sackett Margaret Wimmer Cherrill Cregar Dr. Rosalind Griffin Kay Mann Bob Sarole Gerry Wysiecki Dean DeMartin ELizabeth M. Harris Rita Margherio Dean Schink Kathleen Yobe Ginger Derry Dorothy Hartford Marty Maroz Thomas Schellenberg Robert Yost Martha Dolwing Katherine Hatchett William Martin, Jr. Roseanne Schlussel Cameron B. Duncan Bob Herrington Helen Maynard Fred and Jessie Due 10 space limitations, we are unable 10 list all John Orr Dwyer James Hill Jim McClure Schneidewind volunteers. Beryl Edwards Copyright 2010, Michigan Opera Theatre s E R v I c E s Ticket Information should enter the main lobby and follow the signs. Michigan Opera Theatre Ticket Services Office, 6519 Second Refreshments available in the Ballroom during intermissions .. Avenue, Detroit, Michigan 48202; open 10 am - 5:30 pm Monday through Friday, noon - 5 pm Sunday. On Pre-performance Dinners/Lectures performance days after 6 p.m., visit the theatres' box offices. MOT provides lively lectures accompanied by luncheons or Phone (313) 874-7464 lOam - 6 pm Monday - Friday, noon buffet dinners prior to Wednesday subscription performances - 5 pm Sunday. Open weekends in season, phone for hours. of each production. For information on dates and times, Tickets are also available at all TicketMaster outlets or by please call the MOT Lecture Hotline: 313/874-7835. calling (313) 645-

Exchange Policy PLEASE NOTE: Exchanges will be made on a space available basis, for season No cameras or recording devices are permitted in the theatres. subscribers only, to another performance of the same opera. Exchanges must be made 24 hours prior to the performance. IMPORTANT TELEPHONE NUMBERS Subscriber Ticket Hotline: (313) 874-7831 MOT Opera Boutique Ticket Office: 874-7464 The MOT Opera Boutique, featuring an array of opera-related Administration: 874-7850 gift items, is open before curtain and during intermissions of General Directors Circle Info: 874-7877 each performance at the Fisher and Masonic Temple Theatres. Group Ticket Discounts for parties of ten or more: 874-7889 MOT's Speaker's Bureau 874-7835 Food Service MOT's Community Programs Bookings: 874-7894 The Fisher Theatre: Concession stands inside the theatre TOO Voice: 874-7878 when theatre doors open and during intermissions. Wine, beer Fax: 871-7213 and soft drinks are available for sale in the Fisher Building lobby. Emergency Telephone Numbers During Performances Masonic Temple Theatre: The Fountain Ballroom on the Fisher Theatre: (313) 872-4221 lower level is open one hour prior to curtain time for hot Masonic Temple Theatre: (313) 832-5500 buffet service. Patrons arriving before the theatre doors open

Manufacturers Bank Salutes An Outstanding Performance

Oakland County is the most affluent market in Detroit, seventh most affluent in the United States. So how do you reach it?

Not with the'The Free Press or The News. One reaches 28% of it, the other, 29%.

But every day, The Oakland Press reaches 51 % of North Oakland County - the one area that counts when you're buying Detroit.

The Oakland Press is the daily newspaper that people in Oakland County depend on for national and international news, sports and features, in a format they love to read.

And compare costs. Advertising in The Oakland Press costs far less than Detroit's two major dailies.

The next time you buy Detroit, don't miss the best part. Buy Oakland County with The Oakland Press.

Ihe Oakland Plre•• A CapCopyrightital C 2010,ities/ABC, Michigan Inc Opera. Newspaper Theatre (313) 332-8181 DID AN ACCIDENT OF NATURE MAKE IT THE QUIETEST CAR You CAN OWN?

A'.. mong the most purely enjoyable of all the comforts Lincoln owners an advanced V-8 engine which operates with uncanny silence enjoy is the sense of hushed calm that envelopes the passenger and smoothness. And places today's Town Car among the most fuel cabin of Lincoln Town Car. The quietest automobile you can· own. efficient ever built* t\ nother Lincoln engineering achievement that

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LINCOLN WHAT A LUXURY CAR SHOULD BE.

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Lewis Thomas £.3 Michigan National Wishing the Michigan Opera Theatre a successful season. Bank

Critics are saying ...

**** "Professional ... Quality still exists" **** "Motivated ... Driven ... Creative ... Patrice Williams Effective" ... William Shreck Detroit Institute 0/ Arts Michigan Department a/Transportation Copyright 2010, Michigan Opera Theatre Marketing • Telemarketing • Advertising • Consulting We'll produce Power Plays for your company. For the Score, Call (313) 258-8871 t Northwest Airlines , We fly you to more places we know that business where you do business. deals and good ideas don 't only happen in offices and boardrooms. ASometimes business gets done on the fly, in restaurants , on airplanes, wherever the job takes you. And Northwest is the airline that can take you there . Every day we fl y to over 220 places you need to go, from Tokyo to New York, Los Angeles to Paris. We 're working to be the airline that helps you get the job done . Just call your travel agent or Northwest at 1-800-225 -2 525.

When the curtain goes up on tonight's performance, the Best musical magic you experience will be the result of years of professional training and many Wishes hours of planning and rehearsals. These talented singers and musicians take their jobs seriously. BLOOMFIELD HILLS, MICHIGAN

The best way to learn, to understand and to appreciate is to listen. When it comes to high quality Tonight's performance is printing and graphic design, we a fine example. At Comerica, take our jobs seriously, too. we listen to our customers Professional results and to our community. It helps speak for themselves . us serve you better.

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Copyright 2010, Michigan Opera Theatre That's why we created The Budd Network ~M It's your total engineering and manufactur of our Plastics, Stamping and Frame, and ing resource. Because when we roll up our Wheel and Brake Divisions. sleeves, you get a variety of viewpoints. In short, The Budd Network can And you get them fast. turn the words "what if" into "can do:' Consider our four Detroit-based Because your success is a function of time. technical centers. Or the state-of-the-art And it's our specialty. prototyping facilities of the Milford Fabricat Let's talk. Call (313) 643-3520. Put ing Company. And the quality specialists The Budd Network to work for you.

concert This!

with you

and the

University

Musical

Society

is this.

Yo- Yo Ma or Hill Audirorium. Yo-Yo Ma greering fans ar Hill A udirorium.

You are the reason each concert happens! You are the reason each concert happens!

Universiry Musi~al Sociery oj the University oj Michigan University Musical Society oj the Un iversity oj Michigan Burton Memorial Tower, A nn A rbor, M148109-1270 Burton Memorial Tower, Ann Arbor, M1 48109-1270 (313) 764-2538 (3 13) 764-2538

Series on sale now. Individual tickets on sale September 3. Series on sale flOW. Individual tickets on sale September 3.

q 9 I I I 9 9 9 I I I 9 CONCERT CONCERT MAI(ERS MAI(ERS • • Make It 's Murray

your date Perahia, the

today Jul/iard

with String

the Chicago Quartet

Symphony, the King's

Isaac Stern, Singers

Kodo, the with

Canadian YOU who

Members of rhe Guarneri String Quartet meeting Brass, and The King's Singers and the University Musical are concert fans at Rockham Auditorium. Society welcome you to a concert. many more. makers! You are the reason each concert happens! You are the reason each concert happens!

University Musical Society oj rhe University oj Michigan University Musical Society oj the University oj Michigan Burton Memorial Tower, Ann A rbor, M148109-1270 Copyright 2010, Michigan OperaBurro nTheatre Memorial Tower, Ann Arbor, M148109-1270 (313) 764-2538 (313) 764-2538 Series on sale now. Individual tickets on sale September 3. Series on sale now. Individual tickers on sale Seprember 3. MAPLE RD • TROY MOTOR MALL. 643-7000

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29880 Groesbeck Hwy , Roseville, Michigan 48066 Detailing, Accessories & Protection (313) 778-3570 FAX: (313) 778-3931 Copyright 2010, Michigan Opera Theatre ~~~~~~ e've served our communities for 25 years; covering the drama, the changes, the highs, the lows of suburban life. We've grown to include the HomeTown Newspapers and now reach more than 350,000 readers. Like the Michigan Opera Theatre we must first attract an audience that appreciates what we're doing. Then we must deliver quality on a regular basis so that they not only enjoy the time spent with us but keep coming back for more. We think the Michigan Opera Theatre does this beautifully. We like to think that we do, too.

THE HomeTown ®bserl1erAND . &JEccentric NEWSPAPERS

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Serving Birmingham, West BloomfieldCopyright, West Bloomfield 2010, Michigan Lakes Area,Opera Troy, Theatre Rochester, Rochester Hills, Southfield, Farmington, Farmington Hills, Plymouth, Canton, Livonia, Westland, Redford, Garden City, Northville, Novi, Brighton, Howell, South Lyon, and Milford Ifit had less legroom, a lesser warran~ and cost thousandS more, it could be a Cadillac.

Logic would seem to dictate that when you pay thousands of dollars more for a car, you should get

a lot more car. Apparently, in the case of the Cadillac Sedan DeVille versus the

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O~~~i 7:~~_A USA 'Standard equipment levels vary. Legroom comparison roCaJillac Brougham. tExcluJes nonnal maintenance, adjustments anJ wear items. See limiTeJ warranty at dealer. Some restrictions apply. OlV~~;~AM O ~ Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre MICHIGAN OPERA THEATRE

Leonard Bernstein's CANDIDE

Cast, in order of appearance: Pages: Lawrence F. Formosa, Aaron Hunt, Todd E. Ranney+, Miguel Angel Rodriguez+ Voltaire: John Stephens* SelVants: John Riley, Jeannie Wentworth + Candide: Tracey Welborn * Huntsman: Todd E. Ranney Paquette: Lora Fabio + * Baroness: Mary Margaret Clennon Baron: John Puchalski * Cunegonde: Constance Hauman * Maximilian: Doug LaBrecque SelVant: Dean Anthony* Dr. Pangloss: John Stephens Bulgarian soldiers: Andrew Bird +, Dean Anthony Westphalian soldiers: Lawrence F. Formosa, Miguel Angel Rodriguez Strolling Actors: Todd E. Ranney, John Riley Don Issachar: Dean Anthony Grand Inquisitor: John Puchalski Heresy Agent: Aaron Hunt Other Agents: Todd E. Ranney, John Riley Aristocrats: Andrew Bird, Mary Margaret Clennon, Lawrence F. Formosa, Joy Prignon Nun: Debra McLaren + Peasants: Diane Boggs, Aaron Hunt, Rachel Laura Inselman +, John Riley Priest: Todd E. Ranney Altar boy: Miguel Angel Rodriguez Old Lady: Rochelle Rosenthal Judges: John Riley, Dean Anthony Don/photographer and assistant: Lawrence F. Formosa, Aaron Hunt Don/reporters: Andrew Bird, Todd E. Ranney, John Riley, Miguel Angel Rodriguez Businessman: John Stephens Tailor: Dean Anthony Doctor: John Puchalski Cadiz peasants: Diane Boggs, Mary Margaret Clennon, Rachel Laura Inselman, Debra McLaren, Joy Prignon, Jeannie Wentworth Cartagena Seer: Joy Prignon Cartagena Shaman: Todd E. Ranney Drunken sailor with parrot: Miguel Angel Rodriguez Faded Aristocrat: Jeannie Wentworth Pirate: John Riley Populace dancers: Diane Boggs, Lawrence F. Formosa, Debra McLaren Trollops: Mary Margaret Clennon, Rachel Laura Inselman Governor's Aide: Aaron Hunt Governor: John Stephens Slave Driver: Andrew Bird Body Guard: John Puchalski Father Bernard: Dean Anthony Sailors: Lawrence F. Formosa, Todd E. Ranney, Miguel Angel Rodriguez Pirates: Aaron Hunt, John Riley Pygmy: Dean Anthony Eldoradians: Andrew Bird, Diane Boggs, Mary Margaret Clennon, Lawrence F. Formosa, Aaron Hunt, Rachel Laura Inselman, Debra McLaren, Joy Prignon, Todd E. Ranney, Miguel Angel Rodriguez, Jeannie Wentworth Lion: John Riley Sheep: Ann Perniciaro, Debra Napoleon Ragotski: John Puchalski Croupier: Lawrence F. Formosa Prefect of Police: Doug LaBrecque Crook: Dean Anthony Gamblers: Andrew Bird, Aaron Hunt, Todd E. Ranney, John Riley, Miguel Angel Rodriguez Venice courtesans: DianeCopyright Boggs, 2010, Mary MichiganMargaret OperaClennon, Theatre Rachel Laura Inselman, Debra McLaren, Joy Prignon, Jeannie Wentworth Fanners/peasants: Dean Anthony, Andrew Bird, Diane Boggs, Mary Margaret Clennon, Lawrence F. Formosa, Aaron Hunt, Rachel Laura Inselman, Debra McLaren, John Puchalski, Joy Prignon, Todd E. Ranney, John Riley, Miguel Angel Rodriguez, Jeannie Wentworth

* MOT debut + MOT Young Artist Apprentice Conductor: Mitchell Krieger* Director jChoreographer: Dorothy Danner Set Designer: Peter Dean Beck Costume Designer: D. Polly Kendrick* Lighting Designer: Kendall Smith Hair and Makeup: Elsen Associates Chorus Master: Suzanne Acton Stage Manager: Leigh Anne Huckaby Technical Director: William Craven

Supemumeriaries Emmet William Bremer Keith H. Brown Patrick Jay Clampitt Ken Marko Debra Napoleon Ann Perniciaro Bob Yost

MOT thanks the Grace Harper Florists for their In-Kind Gift.

A note about Voltaire's Candide: The story goes that shortly after his arrival in July 1758 for a fortnight'S visit at the palace of his old friend Elector Palatine in Schwetzingen, Voltaire locked himself in his room, refusing admittance to all and sundry and opening his door only to receive his daily quantum of food and coffee. After four days of siege Madame Denis succeeded in effecting an entrance just in time to see him write the final line of Candide. the manuscript of which he thereupon tossed to her with the curt announcement, "There, curious, this is for you!" ~ ~ ~

Additional Artist profiles - Dean Anthony Lora Fabio Tenor (Missouri) Soprano (Ohio) MOT debut MOT debut Recently Recently Pirates of Penzance, Colorado Symphony; Eden of the River, Blennerhassett, W.V. Ariadne aUf Naxos, Virginia Opera; Cannen, Dido and Aeneas, Ohio University; Pirates of Lucia di Lammennoor, Penzance, Sweeney Todd, Wright State University; Central City Opera District Winner, Metropolitan Opera Competition; Regional 1991-92 Season Winner, National Society of Arts and Letters Competition Servant/Don Issachar/Priest/et aI., 1991/92 Season Candide Paquette, Candide MOT Young Artist Apprentice

For biographies of other members of the Candide cast and crew please refer to your complimentary MOT Fall Season Program Book.

) ) ) ) ) ) ) ) Musical Numbers Act] Overture - Orchestra Life is Happiness Indeed - Voltaire, Candide, Cunegonde, Maximilian and Paquette The Best of All Possible Worlds - Pangloss, Cunegonde, Candide, Maximilian and Paquette Oh, Happy We - Candide and Cunegonde It Must Be So - Candide Westphalian Chorale and Battle Music - Ensemble and Orchestra Glitter and Be Gay - Cunegonde Auto da Fe - Ensemble Candide's Lament - Candide You Were Dead, You Know - Candide and Cunegonde I Am Easily Assimilated - Old Lady, Candide, Cunegonde and Ensemble Quartet Finale - Candide, Cunegonde, Old Lady and Businessman

Act II CopyrightMy Love 2010,- Governor Michigan and OperaMaximilian Theatre Barcarolle - Old Lady Alleluia - Maximilian and Ensemble Eldorado - Candide and Ensemble Governor's Waltz - Orchestra Bon Voyage - Governor and Ensemble What's the Use? - Ragotski, Prefect of Police, Crook and Ensemble Venice Gavotte - Old Lady, Candide, Pangloss and Cunegonde Candide's Lament (reprise) - Orchestra Make Our Garden Grow - Company ) ) ) ) ) ) ) )

The Opening Night (November 1) performance is sponsored by CadiUac Motor Car Company and General Motors Corporation. The November 2nd performance is sponsored by Allied-Signal

The Mikado

Music by Arthur Seymour Sullivan Libretto by William S. Gilbert

Cast in order of appearance: Nanki-Poo: Jeffrey Lentz- Pish- Tush, II Noble Lord: Scott Jussila + Pooh-Bah, Lord High Everything Else: Robert Ferrier Ko-Ko, Lord High Executioner of Titi-pu: Zale Kessler Yum- Yum, one of three sisters, wards of Ko-Ko: Mary Callaghan Lynch Peep-Bo, IInother sister: Terese Fedea Pitti-Sing, IInother sister: Melodie Wolford- Katishll: Jocelyn Wilkes The Mikado of Jllpan: Richard McKee • MOT debut + MOT Young Arti.t Apprentice

Chorus Ida Arlene Abbington Gregory Bryant Louise A. Fisher Yvonne Friday Eric Gibson Rosalin Contrera Guastella Jeanine Head Kelton Kepner Cecelia Mac-Smith Paul Marquis Erin M. McFall Robert L. Morency Nancy O'Keefe Jennifer L. Oliver Dave Podulka Matthew Pozdol Mark Rethman Trevor B. Rutkowski Kenneth R. Shepherd Paul Silver Jay G. Smith Judith Szefi Tracy Thorne Grace Ward

Supernumeraries Marvin Stephen Brennan II Stephanie Unger Anthony Giordano (Understudy) Katrina Van Suilichem (Understudy)

Acrobats Donell Mack Mandie Woollcott

Wrestlers/G uards Dean DeMartin Richard Jeryan Robert A. Minor Gary Moy

Conductor, Chorus Master: Suzanne Acton Director: Greg Ganakas Set Designer: Peter Dean Beck Opera Carolina Scene Shop - set construction Makeup and Hair Design, Elsen Associates Costume Design: Malabar Lighting Designer: Kendall Smith Assistant Lighting Designer: Stephen Ouandt Assistant Director: Cathy Roy Technical Director: William Craven Stage Manager: Dan Anderson Assistant Stage Managers: Dee Dorsey, G. Winley

j.j.j.j.j. Musical Numbers Act I If you want to know who we are - Men's Chorus A wand'ring Minstrell- Nanki-Poo, Men's Chorus Our great Mikado, virtuous man - Pish Tush, Men's Chorus Young man, despair - Pooh-Bah, Nanki-Poo, Pish-Tush Behold the Lord High Executioner - Men's Chorus As some day it may happen - Ko-Ko, Men's Chorus Comes a train of little ladies - Women's Chorus Three little maids from school are we - Yum-Yum, Peep-Bo, Pitti-Sing, Women's Chorus So please you, Sir, we much regret - Yum-Yum, Peep-Bo, Pitti-Sing, Pooh-Bah, Women's Chorus Were you not to Ko-Ko plighted - Yum-Yum, Nanki-Poo I amCopyright so proud 2010, - Ko-Ko, Michigan Pooh-Bah, Opera Pish-Tush Theatre Finale: With Aspect Stern and gloomy stride - Ensemble Act II Br.id the r.ven h.ir - Pini-Sing, Female Chorus The sun, whose r.ys .re .11 .bl.ze - Yum-Yum Brightly O.wns Our Wedding O.y - Yum-Yum, Pini-Sing, Nanki-Poo, Pish-Tush Here's. how-de-do/ - Yum-Yum, Nanki-Poo, Ko-Ko Miya s.ma, Miya sam. - Chorus A more humane Mikado - Mikado, Chorus The criminal cried.s he dropped him down - Ko-Ko, Pini-Sing, Pooh-Bah, Chorus The flowers that bloom in the spring, Tra la - Nanki-Poo, Ko-Ko, Yum-Yum, Pini-Sing, Pooh-Bah Alone .nd yet .Iive! - Katisha Willow, tit-willow - Ko-Ko There is • beauty in the bellow of the blast - Katisha, Ko-Ko For he's gone .nd married Yum- Yum - Ensemble ))))))) Additional Artist profiles Terese Fedea Melodie Wolford rnaz __ IMichig ...J __ CM_ppiJ MOT cr.dha MOT Debut The Magic Rute. Ariadne auf Naxos. La Traviata Rec.ntly Rec.ntly 42nd Street. National and European tours; Santa Fe Opera Apprentice. 1991; Le Cage aux Folies, National tour; MOT Young Artist Apprentice. 1990; Off-Broadway; Television. Another World. NBC TV Metropolitan Opera National Council Auditions. 1990 Industrial films Upcomlnll 1991-92 Se.. on Lyric Opera of Chicago Apprentice. 1992 Pini-Sing. The Mikado 1"1-92 Se.. on Peep-Boo The Mikado . For blollr.phles of other memb.,. of The Mik.do p ..... r.f.r to your compliment.ry MOT Fall S.a.on Pr0llr.m Book .

ob ob ob ob ob This production is co-sponsored by Michigan 8e/l, an Ameritech Company, and Northern Telecom . The November 30th evening performance is sponsored by Opus One ob ob ob ob ob

DON'T MISS MOT'S EXCITING 1992 GRAND OPERA SEASON at the Masonic Temple Theatre

Szymanowski's Saint-Sa6ns' Donizeni's KING ROGER SAMSON AND DELILAH LUCIA 01 LAMMERMOOR May 2 - 9, 1992 May 16 - 23, 1992 May 30 - June 6, 1992 This 20th century Polish Thrill to the spectacle, The celebrated bel canto work masterpiece, set in 12th ravishing music and riveting returns to the MOT stage! Sir century Sicily, travels into the drama of passion and Walter Scon's The Bride of realms of royalty, the Holy treachery. Russian soprano Lammermoor who, though Church, and conflicts between LUDMILA SCHMETCHUK deeply in love with another Christianity and paganism. makes her MOT debut as the man, is forced into a marriage The lushly orchestrated opera Delilah, with leading dramatic not of her choice. Don't miss is full of pageantry, dance and tenor VLADIMIR FOPOV MOT favorite RUTH ANN beautiful music by the debuting as Samson, and SWENSON (Romeo et Juliette. greatest composer to emerge opulent sets and costumes by 1990) in her signature role. from Poland since Chopin. designer BENI MONTRESOR. With internationally renowned Sung in Polish with projected Sung in French with projected tenor VINSON COLE as her English surtitles, this is • new English surtitles, this is a co- beloved Edgardo, and Mark co-production between MOT production of MOT, portland Rucker as her brother Enrico. and Greater Buffalo Opera. Opera, Houston Grand Opera Sung in Italian with English and Opera Pacific. Surtitles.

FOR TICKETINFORMATION, PHONE 313/874-SING (7464) Copyright 2010, Michigan Opera Theatre MondBY through FridBY. 10 Bm - 5:30 pm; weekend BssistBncelJlso IJvlJillJble Copyright 2010, Michigan Opera Theatre Another Ti bar Rudas Production October 13, 1991

After his critically acclaimed Detroit performance in 1988, Luciano Pavarotti returns to the Joe Louis Arena for this special encore presentation by special arrangement with Michigan Opera Theatre.

This afternoon's concert is made possible in part by a contribution from 'Ford Motor Company. Many thanks to Ford for their continued support of the arts.

My sincere gratitude to Herbert Breslin, Mr. Pavarotti's manager, Dr. David DiChiera of Michigan Opera Theatre and the staff of the Joe Louis Arena in helping to bring about a return visit of the world's most beloved tenor: Luciano Pavarotti.

Enjoy this afternoon's concert. Respectfully,

Tibor Rudas

Tenor The world cheers this great artist at his every appearance in opera, in recital, with orchestra, on record, television and in motion pictures. His impact has broadened the horizons of classical music and brought untold numbers of new fans to the art. His unique personality and in dividual qualities have reached and touched countless audiences throughout the world on stage and in concert, and his image on the television screen has become synonymous with vocal art to millions who have seen him in his award-winning shows. His most recent film projects include a documentary on his trip to the People's Republic of China during his silver anniversary year, and a television special filmed on location in Naples. His anniversary was also celebrated with a new book, "Grandissimo Pavarotti'; published by Doubleday. Pavarotti's recordings, each and everyone, are best sellers, his frequent television appearances on Live from Lincoln Centre, Live from the Met, as well as documentaries and talk shows; his starring role in MGM's Ths, Giorgio - have all added to his musical renown, and combined with his extra-musical interests, such as painting, tennis and horsemanship, have made his name a household word. Each season Luciano Pavarotti regularly adds a new role to his repertoire, either for the stage or on record as well as new songs to his recitals. The great lyric roles are now all his and the dramatic style has come with his growing maturity and expanding artistry. Tosca, Luisa Miller, Rigoletto, II 1i'ovatore, Gioconda, Un Ballo in Maschera, La Boheme, L'Elisir d'amore, Idomeneo, Aida, Lucia, Thrandot and Ernani comprise the bulk of his repertoire, and he has recorded many works not yet offered on stage, such as William Tel~ Me/istofele, Andrea Chenier, Cavalleria Rusticana, Pagliacci and Norma. - Luciano Pavarotti also concentrates much of his energy on aiding young singers. In addition to his Master Classes, he has organized an on-going international vocal competition with the Opera Company of Philadelphia, appearing in performance with the winners. Luciano Pavarotti was born in Modena, Italy where he now resides with his Wife and three daughters. He began his working life as a teacher, but after two years decided to become a professional singer to the great joy of his father who had always hoped his son would become an operatic tenor. He first studied with Arrigo Pola and then with Campogalliani. In 1961, in Reggio Emilia, he won the Concorso Internationale and made his debut 'there in 1961 in La Boheme. Making an immediate impression on the Italian operatic world, he was engaged to sing in theatres all over Italy. It was in 1963 that Luciano Pavarotti was first heard outside his native land. He sang Edgardo in Lucia in Amsterdam and in La Boheme at the Wiener Staatsoper. In September of that year he substituted for an ailing Giuseppe Di Stefano at London's Covent Garden in La Boheme. He conquered the British public with this one performance and was immediately re-engaged. 1963 also included a Pinkerton in Madama Butterfly in Belfast and a Traviata in Barcelona. Invited to Glyndebourne, where he sang Idarnante in Mozart's Idomeneo, Pavarotti met Joan Sutherland and Richard Bonynge. His American debut, where he sang Edgardo to Joan Sutherland's Lucia at the Miami Opera followed, and from there he toured Australia with Sutherland and Bonynge. At the end of 1965 he made his debut at La Scala as Rodolfo. Pavarotti made his debut in San Francisco in 1967, as Rodolfo with Mirella Freni as Mimi. He returned the following year in Lucia di Lammermoor. He made his Metropolitan Opera debut the same year, again in La Boheme with Freni. He sang La 1i'aviata there in 1970 and in 1972 came the now historic La Fille due Regiment with Sutherland. 1982 saw Pavarotti in Philadelphia where he sang L'Elisir d~more and Boheme with the young singers who had won his competition. Im mediately after this he played the role of the Duke in Rigoletto in Ponnelle's production. Venues in 1984 included Geneva, Paris, Bari, Bologna, Salzburg and a concert tour of the USA. 1985 and 1986 included concert tours in America and in 1986 performances of La Boheme in Reggio Emilia, Berlin and Paris and with the Opera Company of Genoa, with whom he toured in China. Other opera performances that year included Tosca and Ballo in Maschera. Appearances in the 1988/89 season included II 1i'ovatore at the Metropolitan Opera, Un Ballo in Maschera in Bologna, and La Boheme in San Francisco and Hamburg. In 1989 he appeared at London Docklands Arena to great acclaim and went on to make arena performances all over Europe. He also opened the 1989/90 Metropolitan season with Rigoletto starring alongside June Anderson and Leo Nucci. His new Decca recording of the opera with Anderson and Nucci under the baton of Riccardo Chailly was rush-released to coincide with these perform ances. Appearances in 1990 included La Gioconda at the Met, L'Elisir d'amore at Covent Garden and Vienna and II 1i'ovatore in Florence. The Pavarotti recording career has assumed legendary proportions. An exclusive recording artist for Decca, the great tenor has commit(ed almost all of his roles to disc, most often in the company of Joan Sutherland or Mirella Freni - partnerships which are also legendary. As well as Rigoletto, Maestro Pavarotti's most recent releases for Decca include Aida with Maria Chiara under the baton of Lorin Maazel and the chart topping best selling compilation album Thtto Pavarotti which sold over one million discs worldwide in just six months. He recently reached number one in the UK pop album charts with The Essential Pavarotti - the first time a truly classical album has ever reached this posi tion. At the same time Pavarotti's recording of Nessun Dorma has been used as the signature tune for the World Cup title sequence and released as a single. Only two weeks after its release it shot to the very top of the UK pop single charts. On July 7, Maestro Pavarotti joined fello w tenors Jose Carreras and Placido Domingo in a unique concert at the Baths of Caracalla in Rome. Accompanied by a 240 member orchestra made up of the players of the Maggio Musicale and Rome Opera orchestras under the baton of Zubin Mehta, the concert was relayed live on TV to millions worldwide.

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- ---~-- '"'~::'•••• \.~-.' ." •.',' :0. (~~ •. :::0 . .. .--. ------...... -.. --1 1 I OJ,; 91/! ! I I ! I I I I1 _____-_--..l F 5"'8 T~f:-~~:ber of -~O-T-h-~s~--e-num-be-r:-f:-ve--~_-_r ·1 live weather forecasts weather forecasts done by \ done by Michigan Meteorologists \ Michigan Meteorologists on all on WJR during an average day, other radio stations in Detroit conducting London's Philharmonic Orchestra, the Berlin Symphony Orchestra and has triumphed at the Deutsche Staatsoper Berlin, the Hamburg State Opera, the Teatro Col on in Buenos Aires, Barcelona's Gran Teatro dei Licea, the Bilbao Festival, the Verona Philharmonic, the Orchestra of the Teatro Carlo Felice in Genoa. He has also led numerous orchestras on tour throughout the United States, Scandinavia, Germany and Spain. Among the operatic works with which he has become most closely associated are: Aida, Rigoletto, II Trovatore, La Traviata, Simon Boccanegra; La Bohema; Tosca, Madama Butterfly, Manon Lescaut and II Trittico; Andrea Chenier and Fedora. In the symphonic repertory he has conducted Stravinsky's Les Noces on tour with the orchestra of La Scala. His recordings on the Angel/EMI and London/ Decca labels have drawn great critical and public praise, especially for his work with such great singers as Luciano Pavarotti, Mirella Freni, Raina Kabaivanska, Lucia Valentini-Terrani and Ruggero Raimondi. He has appeared on numerous television specials and over the years has become especially appreciated for his work as a great teacher. Leone Magiera has recently begun writing about musical matters; he is currently working on a series of books concerning the challenges and problems of singing and opera that he has compiled for the celebrated Italian publishing house of Ricordi. The first two volumes of this set have already been completed: "Method and Legend - Luciano Pavarotti and Mirella Freni." Beginning in 1992 Maestro Magiera will assume a three year appointment as Guest Conductor with the Bonn Opera.

II "Quanto e cara, quanto e bella" Donizetti from L'ELISIR D' AMORE

III "Una furtiva lagrima" Donizetti from L'ELISIR D' AMORE

IV Andante in C Major for Flute & Orchestra K. 315 Mozart (Mr. Griminelli)

V "0 Paradiso" from L' AFRICANA Meyerbeer

VI Intermezzo from CAV ALLERIA RUSTICANA Mascagni

VII "La mia letizia infondere" Verdi from I LOMBARDI

VIII "Pourquoi me reveiller" Massenet from WERTHER 1 INTERMISSION 1 LONDON RE Exclusive Management for Luciano Pav --....-Andrea Griemieneille _____ 11 9 West 57th Street , Nel - Flute Soloist Judy Kovacs - Art

IX "Recondita armonia" from TOSCA Puccini

X "E Iucevan Ie stelle" from TOSCA Puccini

XI "Carmen Fantasy" Bizet (Arranged by Francis Borne) Mr. Griminelli

XII "Vesti Ia guibba" from I'PAGLIACCI Leoncavallo

XIII William Tell Overture Rossini

XIV La Serenata Mascagni La Girometta Sibella Occhi di fata Denza

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555 South Woodward Birmingham. Michigan (Bet. 14 Mile Rd. & Maple) (313) 258-8861 Copyright 2010, Michigan Opera Theatre ANDREA GRIMINELLI Flutist Celebrated by critics and audiences alike for his moving in terpretations and stunning technique. Italian flutist Andrea Griminelli continues to build a reputation as one of the music world's fastest rising stars.

Andrea Grminelli began playing the flute at age ten. While studying with the legencery Jean-Pierre Rampal at the Paris Conservatory, he progressed at remarkable speed, winning the Tress and Alexandrea prizes at age 20. In 1983 and 1984 Mr. Griminelli won the prestigious Prix de Paris, first for solo flute, and again for chamber music.

Many prestigious engagements followed, including concert tours of Europe, Japan and the United States. He was introduc ed to American audiences as the featured soloist in Luciano Pavarotti's recent North American tour.

Mr. Griminelli continues to perform throughout the world, often collaborating with such world-class musicians as Jean Pierre Rampal and Jean-Marc Louisada. Recently released on London/Decca Records, is a recording of Vivaldi and Mer cadante flute concertos, with Jean-Pierre Rampalleading the English Chamber Orchestra.

pz Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre LUCIANO PAVAROTTI IN CONCERT - OCTOBER 13,1991 Presented by TIBOR RUDAS By special arrangement with MICHIGAN OPERA THEATRE For LUCIANO PAVAROTTI Management Herbert H. Breslin Artistic Assistance Judy Kovacs For RUDAS THEATRICAL ORGANIZATION OF NEVADA, INC. President Lee Rudas Executive Vice President Ian Maclaren General Manager Dick Gallagher Event Coordinators Cheryl Maclaren Matthias Schremmer Office Manager David Elliott Box Office/Finance Maria Matias Administrative Assistant Donna Krasnitz Executive Secretary Kimberly Bower Stage Director Thomas Reitz Production Manager Frank MiIIane Sound Design Alexander Yuill-Thornton II Sound Engineer Music Librarian Security

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Overture To DON PASQUALE Donizetti Don Pasquale, one of Donizetti's two notable comic operas, was written six years before his death in 1848 and was the prolific composer's last stage success. First staged in Paris in 1843, "Don Pasquale" remains, with such operas as "Lucia di Lammermoor", and 'L'Elisir d' Amore", one of the outstanding examples of Donizetti's skill. "Quanto e cara, quanto e bella" from L'ELISIR D' AMORE Donizetti In this operatic comedy of 1832, with libretto by Felice Romani, the tenor role is that of a peasant, Nemorino, in love with an elegant young lady, Adina, who rejects him. Just as he drinks a bottle of "the elixir of love" that he has bought from a traveling medicine man, the news arrives that a distant relative has died and left him a fortune. The good news or the good medicine or both bring the couple together. At the opera's start, when he sees her for the first time, he sings: "How beautiful she is, how dear! The more I look at her the more I like her, but I am not clever enough to inspire sweet affection in her heart. She reads, she studies, she learns. Nothing is unknown to her, but I am just a simpleton. All I know is how to sigh for her. Who will take a chance on my intelligence, teach me how to make myself loved?" "Una furtiva lagrima" from L'ELISIR D' AMORE Donizetti As the plot develops, Nemorino finds a moment for this love song: "A furtive tear dropped from her eyes. She seemed to envy the other girlish merrymakers. Need I seek further? She loves me. Yes, I see it. Oh to feel for just one moment the beating of her beautiful heart, to mingle my sighs briefly with hers! Heaven! I could die without asking for more." Andante in C Major for Flute and Orchestra, K. 315 Mozart Composed in Mannheim around 1778, this noble piece, exalted and rapturous in temper, opens with five spread chords, played pizzicato by the strings and contrasted with the smoothly phrased horns and oboes. The six-fold use of these chords, in varying shapes and keys punctuates the flow of the music and highlights the ethereal lines of the solo flute, some of which foreshadow what Tamino plays in the ordeal scene of The Magic Flute. "O'Paradiso!" from L' AFRICAN A Meyerbeer Libretto by Eugene Scribe, first performed in Paris, in 1865. Vasco da Gama, in love with an African queen, is shipwrecked on the island of Madagascar where she reigns, and in Act IV he sings a rapturous ode on the beauties of her realm. Marvelous land, blessed gardens, radiant temples, hail! Oh paradise risen from the waves, sky so blue, sky pure and so delightful in my eyes, you belong to me, oh new world that I give to my homeland. For us these colorful fields; for us this rediscovered Eden! Oh charming treasures, Oh marvels, hail New World, you belong to me! Be mine, oh beautiful land! Intermezzo, from CA VALLERIA RUSTICANA Mascagni Pietro Mascagni, born in Leghorn in 1863 and died in Rome in 1945. His first opera "Cavalleria Rusticana" was first produced when he was twenty-seven years old, and though he wrote sixteen more during his remaining fifty-five years, could never duplicate its success. This beautiful orchestral intermezzo became so popular that he wrote one into almost all of his other works. "La mia letizia infondere" from I LOMBARDI Verdi The chapter on 19th century Italian opera might have been a very thin one indeed had Verdi kept his vow never to compose again following the disastrous failure of his second opera, "Un Giorno Di Regno", a comedy that was withdrawn after a single performance at La Scala in 1840. Fortunately for operatic history, the Scala Impresario Merelli prevailed in his encouragement of the young composer, and less than two years later "Nabucco" was premiered (March 1842) and had an enormous success. This opened the door to a floodtide of creativity which then got under way with "I Lombardi", introduced the following season. A sprawling, unreasonably complex libretto about intrigue, passion, love an d murder in the time of the Crusades, by Nabucco's author, Temistocle Solera, drew from Verdi a vital, vigorous, primitive score abounding in all the crudities and all the glories that marked the genius' early works - Arrigo Boito (librettist of Verdi's last two operas, Otello and Falstaff), spoke of "the marvelous traces here and there of eternal beauty." One of these traces is in the aria La mia letizia, sung by Oronte, the Moslem son of Acciano, in love with the Christian girl Giselda, who is confined in his father'S harem. ORONTE: Would that I could instill my gladness into her dear heart! Would that with the throbbing of the love which inspires me I could awake as many harmonies in the universe as it has planets: ah! to go with her to heaven, and to fly aloft where no mortal can go! "Pourquoi me reveiller" from WERTHER Massenet The wandering poet, Werther, returns to a woman who had once loved him, and he rereads an old poem: Why wake me, oh breath of spring? I feel your touch but storms and sorrows are coming. Tomorrow, the returning traveler's eyes will search in vain for past splendor, but will find only misery and mourning. Alas, why wake me, oh breath of spring? Copyright 2010, Michigan Opera Theatre "Recondita armonia" from TOSCA Puccini (Born December 22, 1858, in Lucca; died November 29, 1924 in Brussels) Libretto by Luigi Illica and Giuseppe Glacosa, after the 1887 play by the French dramatist Victorien Sardou. First performed January 14, 1900 in Rome. The artist, Marlo Cavardossi, painting a picture of Mary Magdelene in Rome's church of Sant' Andrea della Valle, sings of the features he is giving the portrait - those of a woman who prays every day before a figure of the Madonna in the church, and those of his beloved, the famous opera star, Floria Tosca: Secret harmony of varied beauty! Floria, whom I ardently love, is a brunette, and you, unknown beauty, are covered with golden tresses. You have blue eyes; Tosca's are black. Art is so mysterious that it confuses one beauty with another, but my thoughts, Tosca, are only of you. "E lucevan Ie stelle" from TOSCA Puccini Cavaradossi is taken prisoner and condemned to death for a supposed political crime, by the villainous chief of police, Baron Scarpia. In the opera's last act, the painter, with only an hour left to live, is led from his cell in Rome's Castel Sant' Angelo to the roof of the great building, where he sings this touching recollection of love and farewell to life: Then the stars were shining and the earth was perfumed. The garden gate creaked and a footstep brushed the sand. She came in, fragrant, and fell into my arms. Oh what sweet kisses! Oh what gentle caresses while I released her beauty from its veils. Now my dream of love has vanished forever. That time is past. I die without hope - and I have never loved life so much. Carmen Fantasy (Arranged by Francis Borne) Bizet This is a fantasy of the themes from one of the world's most famous and beloved operas "Carmen" written by Georges Bizet. It has been arranged for flute and orchestra by Francis Borne. "Vesii la guibba" from PAGLIACCI Leoncavallo I "Pagliacci" ,.premiered in Milan in 1892, was Leoncavallo's single masterpiece, and made the composer famous throughout Italy. In addition to its intrinsic quality, it stands as one of the best-known examples of the late 19th century operatic movement known as 'verismo,' which sought the realistic depiction of the lives of people at· the lower end of the social spectrum. In "Pagliacci", which is about a troupe of strolling players, Canio, a clown, learns that his beautiful wife, Nedda, whom he adores, is in love with another. Though crushed by the revelation, Canio must go "on with the show;" as he puts on his clown suit and make-up, he laments in "Vesti la guibba" that he must make the public laugh while his own heart is breaking. WILLIAM TELL Overture Rossini William Tell was Rossini's last and most serious opera, composed in France in 1829. It concerns the legendary thirteenth-century Swiss patriot and his struggle to win independence for his country from tyrannical Austrian rule. This popular Overture is a miniature tune poem, divided in four sections. The opening ensemble for solo cellos portrays a sunrise in the Alps. The second section, Allegro, depicts a violent mountain storm. Then there is a quiet English horn solo, Andante, the shepherds' song of thanksgiving after the storm, derived from a traditional tune played on the Alpine horn to call the cows from pasture. A fanfare of trumpets ushers in the final Allegro Vivace, the thrice-familiar quickstep to which the Swiss army rode to meet the Austrians in the thirteenth century and the Lone Ranger rode to meet radio and television audiences in the twentieth. "La Serenata" Mascagni By Pietro Mascagni (1863-1945), composer of Cavalieri a Rusticana and more than a dozen other operas, a popular Serenata; Heads under white wings, the loving doves sleep. Your blonde head is resting on a pillow, dreaming happy, rose-colored dreams. A passing shade tells you that my heart is breaking for you, tells how much I want you, that you are my joy and my torment. Do not wake, flower of paradise, until I come, in your dream, and kiss your cheek. "La Girometta" Sibella Girometta, here a girl's name, is also the Italian word for a kind of folk song on the subject of girls' clothes. La Girometta is Gabrielle Sibella's adaptation, written in New York in 1918, of one of them. Who made you those shoes that fit so well, Girometta? - My beloved, made them for me; he loves me so much - Who made you those stockings? - My beloved. "Occhi di fata" Denza Occhi di fata "Fairy's Eyes," is by Luigi Denza (1846-1922), the Anglo-Italian composer best known for the Neopolitan song, Funiculi, funicula, which became so popular that some of Europe's greatest composers assumed it to be an authentic, anonymous folk song and used it in their symphonic works. Here he sings; Oh, lovely fairy's eyes, strange and deep eyes, you have robbed me of the peach of my youth. Beautiful, blonde lady, what will you give me in return? You will give me the fevered ardor of your kisses, your white body in my arms. ¥ou take the flower of my youth, but you give me love.

Bernstein's Gilbert and Sullivan's Szymanowski's CANDIDE THE MIKADO KING ROGER November 1-10, 1991 November IS-December I, 1991 May 2-9,1992

Saint-Saens' Donizetti's SAMSON AND DELILAH LUCIA DI LAMMERMOOR May 16-23, 1992 May 30-June 6, 1992 FOR TICKETS CALL (313) 874-SING Copyright 2010, Michigan Opera Theatre ONCE AGAIN, WITH PRIDE, WE ARE INSTRUMENTAL IN BRINGING YOU THE BEST PAVAROI'I1 IN DEI ROIT