Copyright 2010, Michigan Opera Theatre S K Y S T H E L M T

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COVER PHOTO Mark J. Mancinelli, MJM Photography

Michiga n Opera Theatre would like to thank the Detroit Institute of Arts for the use of artwork for promotional materi als. Choose from unfornished Michigan Opera Theatre would like to thank Harm ony House Records for the studio and one-bedroom donation of season recordings and videos. high-rise apartments or fully Michiga n Opera Theatre's 1998/99 subscription and single ti ckets have been fornished apartment suites graciously sponsored by Grand Aire. fo r short-term or extended Physicians' service provided by Henry Ford Medica l Center for the Performing Arts. stays - Either way, you'll be impressed with Town Apartments & Suites' outstanding value. Pepsi-Cola is the official soft drink and jui ce provider for the Detroit Opera House.

• Fully equipped kitchen with Steinway is the official piano of the Detroit Opera House and Michigan housewares and microwave Opera Th eatre. Steinway pi anos are provided by Hammell Music, exclusive • T elephone with dataport and voice representa tive for Steinway and Sons. mail system • Desk with work area and cable TV Starbucks Coffee is the official coffee of the Detroit Opera House. • All utilities included President Tuxedo is the official provider of form al wea r for the Detroit • 24-~our receptionist and front desk Opera House. service • Complete fitness center Michi ga n Opera Theatre is a non-profit cultural orga nization whose acti viti es • Laun~ry and dry cleaning on are supported in part by the Michiga n Council for Arts and Cultural Affairs, premises the National Endowment for th e Arts, and other individuals, corporation s and • Daily or weekly maid service found ation s. Michigan Opera Th eatre is an equal opportunity employer. available • Penthouse patio and sundeck NATIONAL ENDOWMENT 313.962.0674 FORWTHE

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Detroit Ope r a Hou se N

o f 13 MESSAGES <; 2 From the General Director 'II__ ...... -' ., ~

MICHIGAN OUTREACH & EDUCATION OPERA THEATRE 46 Learning at the Opera House '99 5 Board of Directors and Trustees 7 Administration and Staff ON STAGE 15 Madame Butterfly CAMPAIGN INFORMATION by Giacomo Puccini 10 Detroit Opera House 23 Paul Taylor Dance Company New Century Fund Mixed Repetoire 33 Eugene Onegin CONTRIBUTORS by Peter Tchaikovsky. 49 Michigan Opera Theatre 39 . Samson and Delilah Contributors by Camille Saint-Saens

ORCHESTRA & CHORUS 45 Michigan Opera Theatre Orchestra and Chorus

DETROIT OPERA HOUSE 56 Detroit Opera House Information

From Th e Gen e r a l CJ.." I ill 11'\/ D i r b\\O{d for the N\....VV CenIlUI I DIChl e ra

n April 21 , we celebrate the third Broadway buildings-the Detroit Opera House will anniversary of the opening of the Detroit come alive with cultural education, artistic work and O Opera House. Since the celebrated ribbon study space. Work is progressing on the Madison cutting, we have presented more than seven hundred Tower while the Broadway Tower holds the promise performances of world-class opera, dance, musical of a restored historic facade and the renovation of the theater and concerts, a myriad of special events and complex's final remaining building space. two seasons of our highly successful Learning at the While the Metropolitan Opera and companies Opera House summer enrichment program. throughout the nation operate opera houses and similar Nearly ten 'years ago, you and countless Michigan educational resource centers, we know of no institution arts supporters had the courage and insight to believe that both owns and houses them together. We stand to a dilapidated building in the heart of Detroit could, benefit greatly from this synergy and efficiency. and would, become the cornerstone of the extraordinary This renovation equips the Opera House for the cultural and civic renaissance of our great city. Now, I next century-electronic media and high technology am so pleased to share with you news that the same will beam cultural education into schools, elementary to building ranks among the top five most successful in graduate, across the state and beyond. It also invites the the nation (Amusement Business, 1998). artistic community and public to utilize the house daily As exciting as this news is, we have a great in addition to enjoying world-class performances. challenge before us! As Jung said, all great ventures This campaign completes the Opera House, reno are "a process of becoming." We have fulfilled the vates its two flanking towers, eliminates construction promise to present our community with the finest in debt so that the opera company may focus its funds the classical performing arts and entertainment. Now, artistically and educationally, and creates an endow the Detroit Opera House, home to Michigan Opera ment for future growth. Theatre, must realize its destiny to become the Above all, the New Century Fund Campaign offers cultural resource for the state of Michigan. It is the promise of these activities for generations to come. with this goal that we have launched The Bold Of course, we are thrilled that we can launch this New Century Fund Campaign for the Detroit Opera exciting new campaign with the highly anticipated House. Three Tenors Concert, made possible by Ford Sin1ply put, this is a fund-raising campaign created Motor Company. to support and foster Michigan 's artistic and cultural For more information on The Three Tenors Concert identity. I encourage you to join us as we launch this please see page 48, and for The New Century Fund for the ambitious endeavor to finish transforming the'Detroit Detroit Opera House please see page 10 in this program, Opera House into an indispensable member of or phone 313/ 237-3433. Thank you for your support. Michigan's artistic community. Enjoy the performance! The New Century Fund enables us to complete the Detroit Opera House! With renovation of the two towers fl anking the Opera House-the Madison and ~ J) I~

Cecilia Bartoli's voice has taken her to the heights of the opera world. Opening the season at Carnegie Hall was a superb achievement for one so young. "It was very exciting," she says. But, to Cecilia, every performance is exciting. "I get a little nervous at first, but I listen to the music and I start to become Ii part of it. It's a wonderful feeling," she says. Cecilia Bartoli derives pleasure from per fection. Because she knows that when every detail is flawless the performance will be absolutely perfect. Which is why her Rolex Lady Datejust Lady Oyster Perpetual gives her so much pleasure. Datejust GREENSTONE'S CREATORS OF FINE JEWELRY SINCE 1925. 528 N. Old Woodward· Birmingham, MI 4 Blocks North of Maple Rd. • (248) 642-2650 CopyrightRolex, '1/1', Oyster 2010, Perpetual Michigan and Lady DatejustOpera are Theatre trademarks. Copyright 2010, Michigan Opera Theatre DIRECTORS & TRUSTEES 1998- 1999

of directors

Mr. Tarik S. Daoud Mr. Harry A. Lomason Julia Donovan Darlow Mr. Alphonse Lucarelli Mr. Robert E. Dewar Chairman Mr. Lawrence N. David Mrs. Jacques Nasser Dr. David DiChiera Presid ent Mr. David Denn Mr. Jules L. Pallone Mr. Cameron B. Duncan Treasurer Mrs. Charl es M. Endicott Mr. Charles A. Parcells, Jr. Mr. C. Thomas Toppin Secretary Mr. Herm an Frankel Mrs . Irving Rose Mrs. Lawrence Garberding Mr. William Sandy Mr. Kenneth E. Hart Mr. Alan E. Schwartz Mrs. Robert All esee Mr. Eu gene Hartwig Mrs . Roger F. Sherman Mrs. David Aronow Mr. Ri chard Janes Mr. Frank Stella Mrs. Donald C. Austin Mr. Gary Johnson Mrs. George Strumbos Mrs . Bella Marsh a ll Barden Mrs. Charl es Kessler Mr. Robert C. VanderKloot Mr. J. Addison Bartush Mrs. Robert Klein Mr. George Vincent Mr. Ri chard A. Brodie Mr. Gerald A. Knechtel Mr. Gary L. Wasserman Mrs . Willi am C. Brooks Ri chard W. Kulis D.D.S. Mr. Richard C. Webb Mr. Mauri ce Cohen Mr. David Baker Lewis Mr. George M. Zeltzer Mrs. Peter Cooper Mr. A. C. Li ebler Mr. Morton Zieve trUS tee s Juli a Donovan Darlow Mr. & Mrs. Dennis Gormley & John Corbett O'Meara Mr. & Mrs. H. James Gram Mr. Robert E. Dewar Chairman Mr. & Mrs . Lawrence N. David Mrs. Katherine Gribbs Mr. & Mrs. John W. Day Mrs. John C. Griffin Mr. & Mrs. David Denn Mrs. Berj H. Haidostian Dr. & Mrs. Roger M. Ajluni Mr. & Mrs. Robert N. Derd erian Mrs. Robert M. Hamady Mr. & Mrs. Roger Ajluni, Jr. Mr. & Mrs. Robert E. Dewar Mr. David Handleman Mr. & Mrs. Robert A. Allesee Dr. & Mrs. Fern ando G. Diaz Mr. & Mrs. Preston Happel Dr. Lourdes V. Andaya Dr. David DiChiera Dr. & Mrs. Joseph Harris Mr. & Mrs. Thomas Angott Karen VanderKloot DiChiera Ms. Maria Harris Mr. & Mrs. Robert L. Anthony Ms. Mary Jane Doerr Mr. & Mrs . Kenneth E. Hart Dr. & Mrs . Agustin Arbulu Mr. & Mrs. Cameron B. Duncan Mr. & Mrs. E. Jan Hartmann Mr. & Mrs. David Aronow Lady Jane Easton Mr. & Mrs. Eugene Hartwi g Dr. Harold M. Arrington Mr. & Mrs. John Edman Mr. & Mrs. David B. Hermelin Dr. & Mrs. In gida Asfaw Mrs. Charl es M. Endicott Han. & Mrs. Joseph Impastato Mrs . DOr;}a ld Atwood Dr. Fern Espino & Mr. Tom Short Mr. & Mrs. Verne Istock Dr. & Mrs. Donald Austin Mrs. Hilda Ettenheimer Mrs. David Jacknow Han. & Mrs. Edward Avadenka Mr. & Mrs. Roland C. Eugenio Mr. & Mrs . Darnell D. Jackson Mr. & Mrs . Don Barden Mr. & Mrs. Paul E. Ewing Mr. & Mrs. Richard Janes Mrs . James Me rri am Barnes Mr. Stephen Ewing Mrs . Sybil Jaques Mr. & Mrs. Lee Barthel Dr. Haifa Fakhouri Mr. & Mrs . Gary Johnson Mr. & Mrs. J. Addison Bartush Mr. & Mrs. Alfred J. Fisher, Jr. Miss H. Barbara Johnston Mr. & Mrs. Mark Alan Baun Mr. & Mrs. Alfred J. Fisher, III Mrs . William E. Johnston Mr. & Mrs . W. Vi ctor Benjamin Mr. & Mrs. Charles T. Fisher, III Mr. & Mrs. Maxwell Jospey Mr. & Mrs. Raymond Biggs Mr. & Mrs. Herbert Fisher Mr. & Mrs. Mitchell I. Kafarski Mr. & Mrs. John Boll Mrs. El ain e Fontana Dr. & Mrs. Darnell Kai gler Mr. & Mrs . Ri chard A. Brodie Mr. & Mrs . Nathan Forbes Mr. & Mrs. John Kapl an Mr. & Mrs. Willi am C. Brooks Mr. & Mrs . Mitchell B. Fosler Mr. & Mrs. Daniel Karnowsky Mrs . Clarence G. Catallo Mrs. Virginia Fox Mr. & Mrs . Donald W. Keim Mr. & Mrs. Frederi ck Clark Herm an & Barbara Frankel Dr. & Mrs. Charles Kessler Ms. Virginia Clementi Mr. & Mrs. Marvin A. Frenke l Mr. & Mrs. Eugene L. Kl ein Mr. & Mrs. Mauri ce Cohen Mr. & Mrs. Lawrence Garbe rding Mr. & Mrs . Robert Kl ein Han. & Mrs. Avern L. Cohn Dr. & Mrs. Robe rt Gerisch Mr. & Mrs. Gerald A. Knechtel Mr. Thomas Co hn Mrs . Frank Germack, Jr. Mrs. Reva Kogan Mr. & Mrs. Mi chael J. Connolly Mrs. Aaron H. Gershenson Mr. & Mrs. Mike Kojai an Shelly & Peter Cooper Mr. & Mrs. Yousif Ghafari Mr. & Mrs. William Ku Mr. & Mrs. Tarik S. Daoud Mr. & Mrs . Andy Giancamilli Dr. & Mrs. Richard W. Kulis Mr. & Mrs . Vito P. Gioia Mr. & Mrs. Angelo Lanni Copyright 2010, Michigan Opera Theatre orovo 5 DIRECTORS & TRUSTEES

trustees

Mr. & Mrs. David B. Lewis Mrs. David Pollack Mr. & Mrs. George Strumbos Mrs. Walton A. Lewis Mr. & Mrs. John Rakolta, Jr. Mr. Ron ald F. Switzer Dr. & Mrs. Kim K. Li e Dr. Irvin Reid & Dr. & Mrs. Anthony Tersi gni Mr. & Mrs. A. C. Li ebler Pamela Trotman Reid Mr. & Mrs . Mark Thomas Mr. & Mrs. Robert Lisak Mrs. Hans Rogind Dr. Roberta & Mr. Sheldon To ll Mr. & Mrs. Harry A. Lomason Mr. & Mrs. Peter Ron an Mr. & Mrs. C. Thomas Toppin Mr. & Mrs. James H. Lo Prete Mr. & Mrs. Irving Rose Mr. & Mrs. Lynn A. Townsend Mr. & Mrs. Alphonse S. Lu carelli Mrs. Carolyn Ross Mr. & Mrs. Tall al Turfe Cardinal Adam Maida Dr. & Mrs. Herschel Sandberg Mr. & Mrs. Robert C. VanderKloot Mrs. Jessie B. Mann Mr. & Mrs. William Sandy Mr. & Mrs. George C. Vincent Mr. & Mrs. Frank S. Marra Mr. & Mrs. Arnold Schafer Mr. & Mrs. Alvin Wasserman Honorable Jack & Dr. & Mrs. Norman Schakne Mr. & Mrs. Gary L. Wasserman Dr. Bettye Arrington-Martin Mr. & Mrs. Fred Schneidewind Mr. & Mrs. Kenneth Way Ms . Alyssa Martina Dr. & Mrs. Arthur Schultz Mr. & Mrs. Richard C. Webb Mr. & Mrs. Ri chard McB ri en Mr. & Mrs. Alan E. Schwartz Mr. & Mrs. Gary L. White Mr. & Mrs. William T. McCormick Mr. & Mrs. Gergory Schwartz Dr. & Mrs. Christopher Wilhelm Mrs. Wade H. McCree, Jr. Mr. & Mrs. Donald Mrs. R. Jamison Williams, Sr. Mr. & Mrs. Eugene Miller Schwendemann Dr. & Mrs. Sam B. Willi ams Mr. & Mrs. Theodore Monolidis Mr. & Mrs. Ll oyd A. Semple Mr. & Mrs. Eric A. Wiltshi re Mr. & Mrs. Fred Morganroth Mr. & Mrs. Frank Shaler Mr. & Mrs. Donald Worsley Mr. & Mrs. E. Clarence Mularoni Ms. Elham Shayota Mrs. R. Alexander Wrigley Mr. & Mrs. Eddie Munson Mr. & Mrs. Roger F. Sherman Hon. Joan E. Young & Mr. & Mrs. E. Michael Mutchl er Ms. Albertina Si mone Mr. Thomas L. Schellenberg Mr. & Mrs . Jacques Nasser Mr. & Mrs. Ri chard Sloan Mr. & Mrs . Larry Zange rl e Mr. Chri stopher Nern Ms. Ph ylli s F. Snow Mr. & Mrs. Ted Zegouras Mr. & Mrs. Julius L. Pallone Mr. & Mrs. Anthony Soave Mr. & Mrs . George M. Zeltzer Mr. & Mrs. James Pamel Mr. Ri chard Sonenklar Mr. & Mrs. Morton Zieve Mr. Charles A. Parcells, Jr. Mr. & Mrs. Richard Starkweather Mrs. Paul Zuckerman Mr. & Mrs. Spencer Partrich Mr. Frank D. Stella Ms. Lu cia Zurkowski Dr. Robert E. L. Perkins Ms. Mary Anne Ste ll a Mr. Roy Zurkowski Mr. & Mrs. Brock E. Plumb Mrs. Mark Stevens Mrs. Ralph Polk Mrs. Rudolph Stoni sch

fo unding lllelllbers Dr. and Mrs. David DiChiera Mr. Harry J. Nederl ander Mr. and Mrs. Aaron H. Gershenson Mr. E. Harwood Rydholm Mr. and Mrs . Founding Mr. and Mrs. Donald C. Graves Mr. and Mrs. Neil Snow Lynn A. Townsend Chairmen Honorable and Mrs. Mr. and Mrs . Rich ard Strichartz Roman S. Gribbs Mr. and Mrs. Robert C. VanderKloot Mr. and Mrs. John C. Griffin Mr. and Mrs. Sam B. Williams Mr. and Mrs. Ave rn L. Cohn Mr. and Mrs. Harry L. Jones Mr. and Mrs. Theodore O . Yntema Mr. and Mrs. John DeCarlo Honorable and Mrs. Wade McCree, Jr.

.. . lnlstratlon & staff

Lara Schaaf Kendall Smith Staf/ Accountant Lighting Coordinator Genera l Mary E. Pihajlich Robert Lott David DiChiera Director Systems Manager Assistant Lighting Designer Marketing/Public Relations Yasminelaffri Mitchell Carter Technica Assistant Tom Tomlinson Publications Manager Lawrence Picard Managing Director Susan Fazzini Surtitle Operator Assistant Director 0/ Marketing Tohn Kinsora Brett Batterson Tanet Vukovic Head Carpenter Detroit Opera House Manager Membership Manager Robert Mesinar Dolores Tobis Head Electrician Karen VanderKloot DiChiera Group Sales Alan Bigelow Director 0/ Community Programs Mark]. Mancinelli Head oj Properties Steve Haviaras DOH7MOT Photographer Robert Martin Director 0/ Marketing Teanette Pawlaczyk Head Flyman Roberto Mauro "Public Relations Assistant Steve Kemp' Director 0/ Artistic Resources Ticket Office Head Sounaman Eric S. McAlpine Kimberly Mogielski Mary Ellen Shindel Chief Financia Officer Ticket Services Manager Hea'd o/Wardrobe Kimberly Gray lATSE Local #38 David W. Osborne Ticket Services Assistant Manager Director 0/ Production Stagehands Tane Coe lATSE Local #786 Mary Parkhill Ticket Services Staf/ Wardrobe Director o/Development Costumes Laura R. Wyss PRODUCTION Vila Hettinger . Director 0/ Public Relations Artistic Administration Costume Supervisor Dee Dorsey Alice Moss Production Coordinator Wardrobe Mistress Monica Lee Tackson Deborah Acuna ADMINISTRATION Assistant to Director 0/ Production Deanne lovan Frank Castria Tohn Grant Stokes Rose Mirjah Assistant to the General Director Roman Hurko Genevieve Palczynski Linda DeMers Copeland Woodruff Stitchers Board Secretary/Executive Assistant Assistant Directors Make-up & Hair Beverly A. Moore Antonia Ciaravino Rachel Geary Receptionist Production Associate Cindy Ludwig Debra Pollack Pat Lewellen Toanne Weaver Three Tenors Coordinator Audition Volunteer 'Designers for Elsen Associates Community Programs Music Department Deanne lovan Gary Moy Dr. David DiChiera Crew Coordinator Assistant to the Director Music Director Dolores Tobis Suzanne Mallare Acton DETROIT Of/ice and Marketing Manager Assistant Music Director, OPERA HOUSE Mark Vondrak Chorus Master Tennifer Turner Associate Director Diane Bredesen Director 0/ Events Development Orchestra Personnel Manager Sandy Muczinski Holly B. Barr Louis Menendez House Manager Assistant Director o/Development George Darden Calvin Williams Bradley L. Stroud Repetiteurs Maintenance Supervisor Director o/Dance Development Lawrence Picard Rock Monroe Katrina L. Paradine Rehearsal Accompanist Director 0/ Security Corporate Campaign Manager Boris Nicoloff Melvin Lowe Stephani Miller Yates Russian Coach Leah McMahan Capital Campaign Coordinator Stage ManaEement Burtron Reynolds Roberta Starkweather Tohn Kennelly Stage Door Security New Century Fund Assistant "Production Stage Manager Kimberley Burgess Donna Crabtree Flawn Barber Administrative Coordinator Development Anuciate, Foundation Bethany Wright Demetrius Barnes and Government Grants Rebecca Zuber 1esse Carter Tane Westley Assistant Stage Managers Clyde Surell 'Development Associate Nicole Bigelow Building Engineers Finance/Computer Services Production Assistant Maurice Rivers William T. Sdiulz Technical Staff Concessions Manager Controller Vladimir Vukovic Sharon A. Subjeck Technical Director Accountant Monika Essen Property Master

Copyright 2010, Michigan Opera Theatre OlllVO 7 Michigan Opera Theatre and the Department of Community Programs have lost a dear friend, Ruth R. Mott. Having known her for a large portion of my life, I have personally experienced her wit, graciousness, intelligence, compassion and good sense. She inspired and influenced me. She patiently listened to my adventures, thoughts and dreams and shared her advice with me.

It was Ruth Mott's gift of $20,000 twenty-one years ago that enabled the Michigan Opera Theatre Education Department to be established. With this grant I was able to hire an assistant, audition and hire a pianist and singers, print arid mail brochures and create OUf opera touring program for the State of Michigan.

The grant also allowed the department to commission its first elementary school opera, Fair Means or Foul, by famed children's opera composer Seymour Barab. In fact, we are touring the opera this year and during the past twenty years many other opera companies have produced it as well. So Mrs. Mott's generosity has reached thousands of school children across the country and across time.

Whenever I did a project for Flint schools, Mrs. Mott would attend. The last time she attended a Create Opera! performance was in 1997 at the Flint Institute of Music. Fifth graders had created a musical about Rosa Parks. When Mrs. Mott was introduced to the audience, the ninety-five year old woman stood up and congratulated the children, their parents and the now named Department of Community Programs.

Mrs. Mott's Ruth R. Mott fund continued to support Michigan Opera Theatre for twenty years. A great source of pride for me is a comment she made when I gave her a copy of our opening gala performance program book. After reading the Community Programs page, Mrs. Mott looked up and said, "I think you did a good job with your money!"

Thank you, Mrs. Mott!

We will miss you, Karen VanderKloot DiChiera

Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre These gjfts"are.re egn' , throughout the Detroit Opera House and the names ~e ~~rous Capital Campaign donors will remain in perpetuity on plaques, biigis and the Donor Wall in the lobby. But now we have a new goal in sign-!:4. J11e New CentuIy Fund. 1be goarofThe New CentuIy Fund is to raise a minimum of $25,000,000 in cash and pledges payable over a three to five year period. The New Century Fund will: • Complete construction of the Detroit Opera House including the Broadway building facade. , • Develop a new Educational Resource Center in the Broadway building. • Build an endowment which will allow Michigan Opera Theatre to expand and constantly improve its programming. • Retire the debt from the previous construction costs. Please consider a gift to The New CentuIy Fund. Significant benefits are available including exciting opportunities for special events surrounding The Three Tenors Concert including premium seating. Call 313/237-3433 for information. Donors to The New CentuIy Fund will be acknowledged in future program inserts and will be recognized according to the giving level on plaques and the donor wall.

We invite you to walk through the undeveloped space and lIDagine ...World class professionals rehearsing for main stage performances; aspiring local artists preparing to be tomorrow's stars; college students utilizing classrooms; children interviewing celebrity performers; and dance instructors and students watching videos, listening to CDs and accessing the Internet.

• a dance and opera resource center • a media studio • community performance space • classrooms equipped for the study of the performing arts • a costume shop.

SU~POrting artistic expression in all Its forms is impOrtant to Ford Motor Company Our long hiStory of Involvement With the arts reaches bOOk '0 'h, FO'd {''''ily', {O.ndin. ~~ the DetrOit Institute of Arts, the fifth hugest fine arts museum in the United States tOday

In this same SPirit, we're proud to sUPpon the work of these and Similar organi~ations _ Their expressions provide a more inSpiring community for us alJ.

ichigan Opera Theatre is a historically restored annual Avanti Soci pleased to announce the facility. In addition, ety dinner attended M creation of a very special careful estate planning by world-class art membership group-The Avanti can increase the amount ists, The Avanti Society. This unique group is for that you can give to Society Newsletter, people who have included Michigan loved ones or other special informa Opera Theatre in their estate plan. charitable organizations tional events and To become a member of The Avanti because of reduced invitation privileges Society, our only request is that you estate taxes. You can to the Board of name Michigan Opera Theatre in your also increase your income through a tax Trustees Annual Meeting. estate plan. This may be done as a advantaged life income gift. If you have included Michigan designation in your will, trust, or Within the first year of this Opera Theatre in your estate plan, or insurance plan, for example. Through initiative, donors will be included would like to do so, please contact this gift, your generosity can create in the "The Avanti Society" founders Holly B. Barr, Assistant Director of a· personal legacy and give future section of the donor wall in the Grand Development, at (313) 237 -3268, for generations the wonderful experience Lobby at the Detroit Opera House. more information. of world-class opera and dance in Other benefits will include ,an

EXCLUSIVE GROUP OF OPERA LOVERS

THE GENERRL@-

Copyright 2010, Michigan Opera Theatre 12 Orovo Named Gifts Special Initiatives We extend our gratitude to the following We wish to acknowledge and thank the donors who have underwritten designated following people for their efforts in areas in the Detroit Opera House on-going special initiatives that support the restoration of the Detroit Opera House Dr. & Mrs. Roger M. Ajluni Grand Staircase Mr. & Mrs. Robert A. Allesee Allesee MOT Volunteer Association Brick Campaign Dance Patron Lounge Mrs. William C. Brooks Anonymous Donor Grand Lobby General Director's Circle Lounge Dr. & Mrs. Donald C. Austin Grand Central Chandelier Mrs. Barbara Frankel Mr. & Mrs. Tarik S. Daoud Grand Drape Rehearsal Hall and Backstage Projects Ford Motor Company Backstage Renovation and Mrs. Jacques Nasser Broadway Lobby Auditorium Decorative Painting Herman and Barbara Frankel General Director's Circle Lounge Amici dell'Opera Founding Committee: Chaim, Fanny, Louis, Benjamin Mr. and Mrs. Edward Barbieri, J r. and Anne Florence Kaufman Dr. Gennaro J. DiMaso Memorial Trust Grand Side Chandelier Mr. and Mrs. Roland C. Eugenio Delores and Paul Lavins Grand Side Chandelier Mr. and Mrs. Edward L. Rondina Oliver Dewey Marcks Foundation Third Floor Promenade Dr. and Mrs. Patrick A. Villani Mr. & Mrs. Lynn Townsend Trustee Circle Broadway Lobby Mr. and Mrs. John]. Vrana Mr. & Mrs. George C. Vincent Madison Lobby Ms. Sharon Gioia, Mr. & Mrs. Alvin Wasserman Box Level Promenade . Campaign Director

Several named gift opportunities are available in the Detroit Opera House. For more information, please call the Development Department at 313/237 -3433.

The arts and cultural opportunities so vital to this community are also important to us. That's why Comerica supports the arts. And we applaud WE SUPPORT THE ARTS WITH MORE THAN JUST ApPLAUSE

those who join us in making investments that enrich peoples lives.

We listen. We understand. We make it work.'

c o M E R c A B A N K

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supporter of

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We provide natural gas transportation and storage services for the homes, businesses and industries of Detroit and other Michigan communities.

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THE CAST In order of vocal appearance

Pinkerton FRANCESCO GRO LLO* (Ap ril 17, 21, 24 & May 1) CARLO VENTRE (Apri l 18m, 23, 25m & May 2) Goro Opera in three acts ANDREW FOSTERt Presented by Michigan Opera Theatre Suzuki Music by Giacomo Puccini KATHLEEN SEGAR Libretto by Giuseppe Giacosa and Luigi Illica Sharpless based on the play by David Belasco, adapted VICTOR LEDBETTER* from the story by John Luther Long World Premiere: February 17,1904, Milan Cio-Cio-San NATALIA DERCHO* STEVEN MERCURIO Conductor SUN XIU WEI * MARIO CORRAD I Director Imperial CommissionerlPrince Yamadori ZACK BROWN Set Design GARY MOSSt AN IBAL LAPIZ Costume Design The Bonze KENDALL SMITH Lighting Design JAMES PATTERSON ELSEN ASSOCIATES Make-up and Hair Design SUZANNE MALLARE ACTON Chorus Master Kate JOHN KENNELLY Stage Manager BARBARA SCHERRER Surtitles provided by arrangement with Bayshore Opera Translations * MOT debut English translation by Lindley L. Becker and TJ. Scott Scenery for this production of Madame Butterfly is owned tMOT Artist Apprentice by The Washington Opera . Costumes designed for L'Opera Montreal

AM I'lpelin. c.""..., II"General Motors .. The Friday, April 23 performance is sponsored by ANR Pipelin.e Co. The 1999 Spring season is sponsored by General Motors Corporation £... Michigan National HUDSON'S Bank This production of Madame Butterfly is co·sponsored by Hudson's The Saturday, April 24 performance is sponsored by Michigan National Bank.

her for abandoning her religion. Pinkerton angrily orders the priest and his bride's family to leave. When all the guests are gone, the couple express their love.

ACT II Butterfly's house, three years later Pinkerton has sailed back to America on duty. Butterfly is confident that he'll return to her and their son, Trouble, whom he has never met. Suzuki, her servant, is skeptical, but Butterfly is sure, and refuses an offer of marriage from the wealthy Prince Yamadori. Sharpless has heard that Pinkerton is se tJ about to return with an American wife, and tries to agasa circa 1904 prepare Butterfly. She is so excited by the first part of the news that Sharpless cannot bring himself to tell her the rest of the truth; he tries instead to persuade her to accept Yamadori's offer. As the harbor cannon announces the ships return, Butterfly and Suzuki ACT I A house on a hill overlooking Nagasaki begin their vigil. Pinkerton, a Lieutenant in the U.S. Navy, is about to marry Cio-Cio-San, the geisha Madame Butterfly. ACT ·III Butterfly's house Goro, the marriage broker, is showing Pinkerton his As dawn breaks, Butterfly is resting when newly-leased house when Sharpless, the American Pinkerton and his wife Kate arrive together with Consul, enters. Sharpless tries to dissuade Pinkerton Sharpless. Suzuki is the first to meet them, and when from marrying Butterfly, knowing that the sailor does she sees Kate she guesses the truth. Butterfly realizes not intend to take the ceremony seriously, in contrast to what has happened, but not before Pinkerton, unable the bride-to-be, who has renounced her religion for it. to face the situation, rushes out. At first Butterfly seems Pinkerton brushes him off, and the to accept that her husband will not return, and when ceremony is performed. The celebrations Kate offers to adopt her husband's son, Butterfly Butterfly is are interrupted by the angry agrees. But left alone with her son, she takes intervention of Butterfly's a last farewell of him before stabbing confident uncle, a Bhuddist herself. She dies as Pinkerton priest, who rails that he'll return ...

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The obi a

t was raining the morning I to please my new husband and his Shiro (white) and muku (pure) was to marry my "Pinkerton." parents. In retrospect, my problems indicate the purity of the bride's IEveryone was worried until pale in comparison with Butterfly's. intention to take on her husband's my obachan (grandmother) explained Being a third-generation Japanese family traditions. Dressed in white, that the rain was "tears of from Hawaii, I was accepted with she represents an open heart, happiness" from our ancestors only a few questions on both sides, to be dyed with the learning who could not attend the wedding due to a better understanding of our and acceptance of the husband's ceremony. Obachan, a first -generation different cultures. It was quite the household customs. The traditional Japanese in Hawaii, was reflecting opposite in the late 1800s, when uchikake is white except for a the Shinto belief that kami (the the cultural clash between Lt. B. F. crimson lining and its decorative gods) were working for the good of Pinkerton USN and Cio-Cio-San pine, chrysanthemum, or crane everyone. This optimistic view is a (Madam a Butterfly) brought on designs symbolizing good fortune. Butterfly's typical Japanese woman's way of much sadness, making Pinkerton The bride's white headband signifies dealing with tough times; it colors look like an "ugly American" and the same humility and acceptance expertise in the heroine's outlook throughout Butterfly an injured child. of her husband's household and the first two acts of Puccini's Butterfly was a geisha (the word its traditions. these arts Madama Butterfly. means "artistic performer, one who At my wedding, Obachan joked I've always felt a special kinship lives by art"). She trained in the arts that the headband was meant captures with Butterfly. Married to a of song, dance, music and conversa to cover my "devilish horns" (she Pinkerton's Caucasian, I have occasionally felt tion in a profession going back to the considered me naughty by nature). the tension so prevalent between TokugawalEdo period (1615-1858). She and two other women helped heart. the two cultures represented in the The geisha's world was not one of dress me in a series of arduous steps, opera. At the time of my marriage, self-expression, but rather, the per leading to a beautiful presentation. Obachan's cheerful support was fection of traditional arts conforming First the proper makeup was welcome, because although I was to a set pattern of ideals. In my own applied by someone other than very much in love, I felt uneasy training with similar Japanese art myself, because the bride's neck about giving up my own reli- forms, I recall the stinging blows of and hands must also be covered in gious practice to be joined the dance teacher's closed fan, a white. A fabric net covered my hair in a Christian motivator used to encourage mastery to flatten it, allowing the wig to be of classical Japanese movement. As worn. Next came the tabi (split-toed in Butterfly's time, all dance and socks), hadajuban (undershirt), music is learned by rote, requiring susoyoke (half-slip), and nagajuban intense concentration and a strong (under-kimono). Depending on the . will to learn quickly to avoid bride's build, occasionally thin fabric punishment. Butterfly's expertise in is bound around the torso to these arts captures Pinkerton's heart. flatten the ' chest. Padding fills the I For the marriage, Butterfly is hollows and smooths out the waist dressed in the traditional wedding line so the obi (outer decorative y ensemble of the shiromuku bow) lays flat and makes a straight, kimono and the uchzkake cylindrical line from shoulder to (outer robe). floor. I would not recommend this on a daily basis! Taking care that the han eri (half-collar) is properly centered, this layer is fastened

Copyright 2010, Michigan Opera Theatre 18 tlrOVIl by two fabric ties and the date1ime (waistband); the outer kimono is put on in the same manner. The obi ita (obi stay) is placed between the kimono and the obi to keep the obi from becoming wrinkled. The obi is tied in a formal pattern with the obi makura (obi pillow) used to shape the tied bow and then covered with the obi age (bustle sash) to hold the obi makura's crest line in place. The obi1ime (braided cord) and obi-dome (brooch) accentuate the beauty of the obi and kimono. The final touches include hair ornaments, fan , and/or handbag. The process from makeup to finished product can take two hours. Moreover, the bride duet. Her innocence betrays her ness to accept duty, with Butterfly , changes kimonos three more ability to see the problems that lie revealing herself to Pinkerton . times during the course of the ahead. Enthralled with her expres as 'she was on their wedding day. wedding reception! . sion of love, Pinkerton returns the Reading the code on her father's Butterfly and Pinkerton culminate same feelings . However, his plan to dagger, Butterfly stabs herself in the marriage ceremony with the marry a "real" wife when he the neck. Unlike the male ritual sharing of sake. The exchange returns to America indicates a tradition of disembowelment-an of three sips of this Japanese wine severe cultural misunderstanding. act requiring great strength-this from each of three lacquered cups The American consul Sharpless, method was considered more suit sansan-kudo ("thrice three, nine the marriage-broker Goro, and the able for women. By undertaking Her times ")- creates a solemn bond maid Suzuki caution Butterfly seppuku, Butterfly fulfills the code between two unrelated people. about this common foreign practice, practiced by her father, giving Innocence With Butterfly's family but she rejects their warnings. On honor to her family by dying denouncing her for forsaking her the contrary, she takes on the with honor, betrays her religion, and with Pinkerton Western way of dress in Act Two Hope, sadness, shame, honor, removing her from the geisha and worships the Christian God, ritual, symbolism, loyalty and ability to house by purchasing her for endorsing the symbolism of the discipline are found in abundance marriage, she has no recourse but white wedding kimono. in Puccini's opera. Through my seethe to remain hopeful. The suffering While a continuous thread of interracial marriage, I have experi she experiences waiting for her hope sustains Butterfly in the enced many of these emotions and problems American husband reflects the opera's first two acts, in Act Three traditions, but, unlike Butterfly's that lie Buddhist philosophy that life her fears overtake her, leading to experience, my "Pinkerton" has equals suffering, as does the laborious the ultimate tragedy: Facing the never left me. It is raining and ahead. way a geisha learns the arts loss of Pinkerton and her son, today is our thirtieth anniversary. of dance and music. Training to she sees no hope and chooses to The kami are happy. please her customer, and accepting commit seppuku, the Japanese ritual the sacrifice of her life for the of suicide. To the traditional Geraldine Otani Grine is a pro/es benefit of other members of her Japanese, the rationale behind such sional cla rinetist and conduCtor who family, also reflect the deep a torturous act is a noble one, rep lives in Oshkosh, Wisconsin. She was Buddhist belief in the inevitability resenting "honor in death when a consultant for the 1997 Pine of life's tribulations. there is no honor in life" (the words Mountain (Michigan) Music Festival After the ceremony, with inscribed on the dagger with which Butterfly production; she and her family and guests gone, Butterfly, Butterfly's father killed himself). husband both played in the orchestra although miserable after their During the act of seppuku, 0/ the Oshkosh performances. Her rejection, continues her role as the Butterfly dresses in wedding white essay is reprinted courtesy 0/ Lyric artistic performer through her a second time; this again reflects Opera 0/ Chicago. responses to Pinkerton in the love the idea of purity and the willing-

PloOOPle outterL! Profiles

NATALI A DERCHO VICTOR LEDBETTER Soon after graduating from the Victor Ledbetter Tchaikovski Conservatory in Mosco, (Sharpless) has appeared ,.. ~.\ Natalia Dercho (title role) made her with opera companies Michigan Opera Th eatre is operatic debut as Amelia in Verdi's I throughout the United proud to present th e following artists. Masnadieri. The soprano has also been a States, Europe and the ~ " guest with opera companies in Torre del Far East, including San I Lago, Zurich, tel Aviv, Torino, Marseille Francisco Opera, New and Seville. H er repertoire includes the York City Opera, L'Opera de Montreal and title role in JenuEa, Donna Anna in Dublin Grand Opera, and now'. makes Don Giovanni, Michaela in Carmen, his MOT debut. Career highlights include Elizabeth in Don Carlo and the title role creating the role of Mr. Maguire in the world in Norma . This marks Ms . Dercho's premiere of Emmeline at Santa Fe Opera, and North American operatic debut. traveling to Shanghai to sing Scarpia in the Chinese premiere of Tosca. In 1997 Mr. Ledbetter was a soloist in Carmina Burana with the Detroit Symphony Orchestra.

SUZANNE AN DREW FOSTER STEVEN MERCURIO MALLARE ACTON MOT Apprentice New York·born Steven Suzanne Acton Artist Andrew Foster Mercurio (Conductor) has (Chorus Master) (Goro) made his conducted the opera has been MOT's company debut as companies oERome, San Assistant Music Arturo and Normano Francisco, Brussels, Director and Chorus in last fall's Lucza London, Seattle, Costa Master since the di Lammermoor. Mesa, Washington, Dallas 198 1/82 season. She has condu<:ted The previous season he sang Beppe in and Pittsburgh, among others. He was Music productions during her tenure, including The I Paglzacci and Rinuccio in Gzanni Schicchi Director oE the Spoleto Festival (Italy), Barber 0/ Seville and The Daughter 0/ the with OPERArLenawee. He has also Principal Conductor of the Opera Company of Regiment. For Dayton Opera, she has appeared with Atlanta Opera, Savoyards Philadelphia and Associate Conductor ot the conducted West Szde Story , My Fair Lady Light Opera, the Repertory Theatre of St. Brooklyn Philharmonic. He is featured on many and The Pirates o/Penzance. Ms. Acton has Louis, Opera Maine and ISOMATA in Sony Classical Label recordings and videos and served as coach and accompanist for the Idyllwild. His repertoire includes has several 6lm credits. TheJuilliard alumnus is opera companies of St. Louis and The Turn 0/ the Screw, Azda, Faust, both a champion of contemporary music San Diego, and is Music Director of Norma and It Trovatore. and himself a prolific composer. Maestro Rackham Symphony Choir. Mercurio will also conduct MOT's Eugene Onegin this spring.

MARIO CORRADI FRA NC ESCO GRO LLO GARY MOSS Italian born Mario Corradi During the past two Baritone Gary Moss (Director) made his debut seasons, Italian tenor (Imperial Commissioner, in 1982 with It Matrimonio Francesco Grollo Prince Yamadori), age Segreto in Palermo. Since (Pinkerton) has sung rwenty·five, is MOT's then he has staged opera the role of Pinkerton latest Artist Apprentice worldwide: La sonnamula in Venice, Treviso Award recipient. While in Dallas, Don Giovanni and Copenhagen. at the University of and Or/eo ed Euridice in Madrid, Menotti's H e has also sung in Ferrara (Rigoletto), Michigan and the University of Utah, the Amelia al Ballo in Monte Carlo and Madama Bonn (Nabucco), Naples (Roberto prolific competition winner sang the part Butterfly in Spoleto. His work is well known Devereux) and at the Anvers Festival in of Papage no (The Magic Flute), Giorgio in St. Gallen, Frankfurt, Athens and Tokyo. Switzerland (Rigoletto). Mr. Grollo made Germont (La Travzata) , Masetto (Don Giovannz) , His MOT credits include Carmen, The his North American debut last season in Count Almaviva (The Marriage o/Figaro) and Elixir 0/ Love and Lucia di Lammermoor. Hamilton, Ontario. This appearance with the Representative (A Game 0/ Chance). This Mr. Corradi recently directed Spontini's It MOT marks his U.S. debut. marks Mr. Moss's professional operatic debut. teseo riconosciuto-its first performance this cen tu ry. Copyright 2010, Michigan Opera Theatre 20 OIllVO JAMES PATTERSON SUN XIU WEI CARLO VENTRE Since beginning his Sun Xiu Wei (title Born in Uruguay career as an Adler role), born in Liao into an Italian family, Fellow with the Ning, first gained tenor Carlo Ventre San Francisco Opera national attention (Pinkerton) was the in 1983, bass James by winning a vocal winner of both the Patterson (The Bonze) competition on 1995 Luciano Pavarotti has given more than Chinese State International Voice 150 performances with that company Television in 1992. The following Competition in Philadelphia, and the 1990 including Sparafucile in Rigaletta, and year she won the International Verdi Gino Bechi Prize in Barcelona. He made Fafner in the company's widely acclaimed Competition in Italy, and soon after his La Scala debut as the Duke in Rlgaletta, Ring cycle. He has also sung with Chicago made her debut in Milan. Her a role he repeated in 1997 at MOT. Lyric Opera (Tasca and The Farce a/ repertoire includes Salame, Faust, Mr. Ventre has sung La Baheme in Wales, Destiny, among others), and extensively Narma, Dan Giovanni and Anna Balena, Trieste, Genoa and Cologne; Rigaletta in Canada. This is Mr. Patterson's eighth along with several roles from the works in Rome, Zurich and Irvine; and Nabucca appearance with MOT; he most recently of Puccini and Verdi. This is her North in Milan, Lecce and Seville. sang the part of the Mandarin in Turandat. American debut.

BARBARA SCHERRER Mezzo-soprano Barbara Scherrer (Kate Pinkerton) won MOT's Young Artist "NECESS1TY may be the Apprentice Awards in both 1996 and 1997, in which she appeared mother of invention, but as Annina in La Traviata, Mercedes in Carmen, and Countess Ceprano and , Giovanna in Rigaletta. The following creativity is most certainly season she sang the Priestess in Aida and the Second Lady in The MagiC Flute. The three-time wtnner of Oakland University's its father." Concerto Competition also has several inusical theater credits, including Nelly in -Anonymous Sauth Paci/ic and Naughty Nancy in Little Mary Sunshine.

Creativity. It's the unexpected combination of unlike ideas. A combination that can solve a KATHLEEN SEGAR problem. Pen a symphony. Or even advance Mezzo-soprano a civilization. Kathleen Segar (Suzuki) has sung To be creative means to see things in more than a dozen roles with MOT, new ways. To imagine what is not. notably Smeton to To understand each experiment as Joan Sutherland's Anna Bolena. The versatile Ms. Segar another step closer to discovery. has also appeared with the Metropolitan Opera, Washington Opera, Opera At Bayer, we help automakers discover Company of Philad elf' hi a, and New York creative new ways to use our City Opera's Nationa Company. Her wide thermoplastics, polyurethanes, rubber and varied repertoire includes The Magic Flute, Lucia di Lammermaar, Rigaletta, and coatings raw materials to make The Tales a/ Hal/man, Carmen, Eugene your designs more efficient, economical, Onegin, Die Walkiire, Ariadne au/Naxas and The Ballad a/Baby Dae. and exciting. The result is innovative technologies for automotive engineering that go beyond , mere necessity. It allows automakers the luxury to be truly creative in anticipating KENDALL SMITH Michigan native the .de;;ires and tastes of tomorrow's car buyers. Kendall Smith (Lighting Designer) has been Lighting Consultant to MOT since 1988. During the span, the master designer has lighted more than twenty-five Innovative technologies for productions for the company, most recently automotive engineering. last fall's Turandat. Mr. Smith has also designed lighting for Opera Pacific, Dayton Opera, American Stage Festival and Attic Bayer Corporation Theater, among others. Automotive Products Center 2401 Walton Blvd. BayerEB Auburn Hills, Ml 48326-1957 248-475-7700 Copyright 2010, Michigan Opera Theatre Ornvo 21 }

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FRANCIE HUBER ANDREW ASNES THOMAS PATRICK

Caryn Heilman Patrick Corbin Rachel Berman Lisa Viola Richard Chen See Kristi Egtvedt Artistic Director Silvia Nevjinsky PAUL TAYLOR Andy Lebeau Takehiro Ueyama Lighting Designer Ted Thomas JENNIFER TIPTON Heather Berest Set/Costume Designer Maureen Mansfield SANTO LOQUASTO Michael Trusnovec Executive Director ROSS KRAMBERG Rehearsal Director BETTIE DE JONG

The 1998-99 Dance Series is sponsored by DaimlerChrysler Corporation Fund DAIMLERCHRYSLER The S~nday May 9 performance is sponsored by Marlene & John Boll

orogro rMay 6,8

MERCURIC TIDINGS Music by Franz Schubert Excerpts from Symphonies Nos. 1 and 2 PAUL TAYLOR Choreography GENE MOORE Costumes (First Performed in 1982)

Francie Huber, Andrew Asnes with Silvia Nevjinsky, Thomas Patroick, Caryn Heilman, Rachel Berman, Kristi Egtvedt, Andy Le Beau, Takehiro Ueyama, Ted Thomas, Heather Berest, Maureen Mansfi eld, Michael Tru snovec

Production made possible in part by a contribution from the National Endowment for the Arts.

Intermission

EVENTIDE Music by Ralph Vaughan Williams Suite for Viola and Orchestra and Hymn- Tune Prelude, No.1 PAUL TAYLOR Choreography SANTO LOQUASTO Set and Costumes (First per/armed in 1997)

Francie Huber, Patrick Corb in , Caryn Heilman, Rachel Berman, Li sa Viola, Silvia Nevjinsky, Andrew Asnes, Thomas Patrick, Ri chard Chen See, Takehiro Ueyama

Prelude Rachel Berman and Andrew Asnes, Caryn Heilman and Thomas Patrick Lisa Viola and Richard Chen See, Silvia Nevjinsky and Takehiro Ueyama Carol Francie Huber and Patrick Corb in Christmas Dance Caryn Heilman and Thomas Patri ck BaUad Rachel Berman and Andrew Asnes Moto Perpetuo Lisa Vio la and Richard Chen See Musette Francie Huber and Patrick Corbin Hymn-Tune Prelude Full Cast

Production made possible in part by generous contributions from The Eleanor Naylor Dana Charitable Trust, Carole K. Newman, the National Endowment for the Arts, and the New York State Council on the Arts, a State Agency.

Intermission

---_. __ ._------_.------

"(Piazzolla's music echoes the) flawed I confusion of human beings ... worn away as by the labor of hands, impregnated with sweat and smoke, smelling of lilies and of urine, splashed by the labor of what we do, legally or illegally ... (it is) as impure as old clothes, as a body, with its foodstains and its Photo: Howrard Schatz shame, with wrinkles, PIAZZOLLA CALDERA observations, dreams, Music by Astor Piazzolla and Jerzy Peterburshsky PAUL TAYLOR Choreography wakefulness, prophecies, SANTO LOQUASTO Set and Costumes (First performed in 1997) declarations of love and

EI Sol Sueno Full Cast hate, stupidities, shocks, Concierto Para Quinteto Francie Huber, Patrick Corbin, Lisa Viola idylls, political beliefs, Celos Thomas Patrick and Richard Chen See, Andrew Asnes and Silvia Nevjinsky negations, doubts, Escualo Full Cast affirmations ... " Commissioned in part by the American Dance Festival with support from the National Endowment for the Arts, the Philip Morris Companies Inc. and -Pablo Neruda Brenda & Keith Brodie.

Production also made possible by the New York State Council on the Arts, a State Agency; and by the Eleanor Naylor Dana Trust

Music performed by Gidon Kremer from the recording Hommage a Piazzolla with special thanks to Robert H urwitz, President of Nonesuch Records. Copyright 2010, Michigan Opera Theatre OIlIVO 25 orogro t rMay 7, 9-- ARDEN COURT Oliver: Where will the old duke live? Charles: They say he is already in the Forest of Arden and a many merry men with him; and there they live like the old Robin Hood of England. They say many young gentleman 1 /lock to him every day, and /leet the time carelessly as they did in the golden world. -Shakespeare, As You Like It 1

Music by William Boyce Excerpts from Symphonies Nos. 1, 3, 5, 7, 8 PAUL TAYLOR Choreography GENE MOORE Set and Costumes (First Performed in 1981)

Francie Huber, Andrew Asnes, Thomas Patrick Patrick Corbin, Rachel Berman, Lisa Viola Richard Chen See, Andy LeBeau , Ted Thomas

Production made possible in part by contributions from the National Endowment for the Arts, the Mobil Foundation, Inc., and the New York State Council on the Arts, a State Agency.

Intermission

SUNSET Music by Edward Elgar 1 Serenade for Strings and Elegy for Strings PAUL TAYLOR Choreography ALEX KATZ Set and Costumes I" (First performed in 1983)

Andrew Asnes, Francie Huber, Thomas Patrick Andy LeBeau, Caryn Heilman, Takehiro Ueyama Rachel Berman, Kristi Egtvedt, Ted Thomas, Michael Trusnovec

Production made possible in part by a contribution from The National Endowment for the Arts.

Intermission

CLOVEN KINGDOM Man is a social animal. -Spinoza

Music by Arcangelo Corelli, Henry Cowell and Malloy Miller Combined by John Herbert McDowell } PAUL TAYLOR Choreography scon BARRIE Women's Costumes I JOHN RAWLINGS Headpieces (First performed in 1976)

Rachel Berman, Lisa Viola, Heather Berest, Maureen Mansfield Andrew Asnes, Thomas Patrick, Patrick Corbin, Michael Trusnovec Francie Huber, Caryn Heilman, Kristi Egtvedt, Silvia Nevjinsky

Production made possible in part by a contribution from The National Endowment for the Arts.

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PAUL TAYLOR has been a dominant force in dance for dancers representing the next generation of dancers in the four decades. He was born in Pennsylvania, and spent his Taylor tradition. Taylor 2 is directed by Mary Cochran, early years in and around Washington, D.C. He studied who is a PTDC veteran. painting at Syracuse University before coming to New Mr. Taylor's autobiography, Private Domain, originally York City to begin his dance career. From 1955 until 1962, published by Knopf and, in paperback, by North Point he was a soloist with the Martha Graham Dance Company Press, has been received with wide critical and popular while at the same time presenting his own work in concerts acclaim. The book was nominated by the National Book in both the United States and Europe. In 1959, he danced Critics Circle as the most distinguished biography of 1987. with the New York City Ballet as guest artist in George It is being re-released this spring by the University of Balanchine's Episodes. Pittsbvrgh Press. In 1969, Paul Taylor was elected to knighthood by the "Here, at centuty's end, is the finest example anywhere of French government as "Chevalier de l'Ordre des Arts et the art that has been this country's great contribution to des Lettres" and has since been elevated to the ranks of dance since the turn of the century. The Paul Taylor Dance Officier (1984) and Commandeur (1990). He is the recipi Company is, quite simply, as good as modern dance can get." ent of more than 40 awards including three Guggenheim -San Francisco Chronicle Fellowships and six honorary Doctor of Fine Arts degrees. Awards for lifetime achievement include a MacArthur PAUL TAYLOR DANCE COMPANY, now in its forty Foundation Fellowship (often called the "genius award") fourth year, celebrates the artistry of Paul Taylor, and the Samuel H. Scripps ADF Award. Other awards performing his dances throughout the world. The include the New York State Governor's Arts Award in Company's history includes performances in over 400 1987 and the New York City Mayor's Award of Honor for cities and in more than 60 nations. It has represented the Art and Culture in 1989. In February of 1989, Mr. Taylor United States at arts festivals in over 40 different countries, was elected one of ten honorary American members of the and has completed 11 tours sponsored by the United American Academy and Institute of Arts and Letters. States Department of State. Mr. Taylor received an Emmy Award in 1992 for Following its New York Season, the company will travel Speaking in Tongues, produced by WNET/New York in to California, where it will embark on a tour that includes a 1991. He was a recipient of the 1992 Kennedy Center four-week residency in San Francisco at the Center for the Honors "for enhancing the lives of people around the Performing Arts at Yerba Buena, as well as performances at world and enriching the culture of our nation. " In 1993 , he the Alex Theatre in Glendale. In June they will perform in was awarded a National Medal of Arts by President Santiago, Chile, marking the beginning of the Company's Clinton in a ceremony at the White House. In November two-year "Cultural Capitals of the World Tour". of 1995 he received the Algur H. Meadows Award for Recent foreign tours include performances in Moscow Excellence in the Arts, for work which "endures as some at ADF Russia commemorating the city's 300th anniver of the most innovative and important the world has ever sary of its founding; in Lisbon at Expo '98 celebrating the seen." In addition, in 1995 he was named one of 50 promi opening of the World's Fair; in Singapore and Hong Kong, nent Americans honored in recognition of their outstand marking the Company's first performances in China; and ing achievement by the Library of Congress' Office of in several cities in India, representing the United States in Scholarly Programs. a celebration of India's fiftieth year of independence. Since 1968 when Aureole first entered the repertory of Following its month-long engagement in India, the the Royal Danish Ballet, numerous works created by Mr. Company received the Ambassador's Award for Taylor have been licensed for performance by over 75 Distinguished Service "for excellence and creativity in companies worldwide. These companies include: fostering cross-cultural understanding. " American Ballet Theatre, Ballet Rambert, Cloud Gate The Taylor Company is featured in Dancemaker, a soon Dance Theatre of Taiwan, English National' Ballet, to-be-released documentary film on the life of Paul Taylor, Guangdong Modern Dance Company of China, Joffrey produced by the Four Oaks Foundation. The Company Ballet, New York City Ballet, Paris Opera Ballet, San has also enjoyed major television exposure, both here and Francisco Ballet and Teatro alla Scala of Milan. To date abroad. Following its first appearance on the "Dance in over 125 licenses have been issued. In addition to his inter America" series in 1978, the Company has appeared on nationally-renowned Paul Taylor Dance Company, Mr. PBS in seven different programs, including the 1991 Taylor formed Taylor 2 in 1993, a company of six young Emmy Award-winning Speaking in Tongues. More recent- Copyright 2010, Michigan Opera Theatre 28 OI'l1VO ON STAGE

ly the Company worked with WNET/ New York to create a new "Dance in America" special, The Wrecker's Ball, which includes the dances Company B, Funny Papers and A Field of Grass. Broadcast nationally on PBS, The Wrecker's Ball was nominated for an Emmy Award in 1997.

BETTIE DE lONG (Rehearsal Director) was born in Sumatra, Indonesia, and moved to Holland in 1947 , where she continued her early training in dance and mime. Her first professional engagement was with the Netherlands Pantomime Company. After coming to New York City to study at the Martha Graham School, she performed with the Graham Company, the Pearl Lang Company, John Butler and Lucas Hoving, and was seen on CBS-TV with Rudolf Nureyev in a duet choreographed by Paul Taylor. Ms. de Jong has been with the Taylor Company for over 35 years, having joined in 1962. Noted for her strong stage presence and long line, she was Taylor's favorite dancing partner and, as Rehearsal Director, has been his right arm for the past 24 years. Texas Christian Unive~sity, and was awarded scholarships from the Alvin Ailey American Dance Center and the FRANCIE ,HUBER is from Kansas City, Missouri, where American Dance Festival, as well as a graduate assistant she began her dance studies. She has also studied at the ship from TCU. Her choreography has been in the reper Joffrey Ballet, Martha Graham and Alvin Ailey schools. tory of Contemporary Dance/ Fort Worth and New She was encouraged to attend The Juilliard School, where Century Danscene. Ms. Heilman is on faculty at the The she earned a B.FA. While at J uilliard she performed works Taylor School and teaches master classes for the Company by Paul Taylor, Jose Limon, Anna Sokolow, and others. while on tour. j She went on to perform with several modern dance com panies in New York City. Ms. Huber made her debut with PATRICK CORBIN was born and grew up in Potomac, Paul Taylor I the Taylor Company in 1987 at the Berlin Opera House. Maryland. He began his dance training under the direction of Bernard Spriggs at the District of Columbia City Ballet has been ANDREW ASNES, a graduate from Dartmouth College in 1977 and continued at the Washington School of Ballet with a B.A. in film studies, studied dance under Pepe and with Mary Day and Alastair Munro and at the School of a dominant Vicki DeChiazza. Prior to joining the Taylor Company in American Ballet with Stanley Williams an d Andre '89, he worked for the Ensemble Studio Theater and was Kramarevski. He has danced with ABT II, the J offrey II force in assistant choreographer for the Broadway Musical Big Dancers and, from 1985 to 1989, with the Joffrey Ballet. River. His choreography has been shown at Avery Fisher He made his debut with the Taylor Company in 1989 and dance Hall, The Sylvia and Danny Kaye Playhouse, The Helen has become one of its most often featured dancers. Mr. Hayes Theater, Pace Downtown Theater, Marymount Corbin also teaches at The Taylor School. for four Manhattan College, and Purchase College. His work was performed by Robert LaFosse with Margie Gillis and RACHEL BERMAN is originally from Honolulu, Friends during their 1997-1998 season. As guest artist he Hawaii, where she began her dance training. She also stud decades. has toured Russia with the Stars of American Ballet, as well ied at the San Francisco Ballet School and was on scholar as improvising with the Parsons Dance Company. He is a ship at the Joffrey Ballet, Alvin Ailey and Paul Taylor member of the Board of Overseers of the Hopkins schools. Ms. Berman received her B.FA. in dance from the CenterlHood Museum at Dartmouth College. Mr. Asnes State University of New York at Purchase and has also teaches at The Taylor School as well as other locations. performed with Ballet Hispanico, May O'Donnell, Kevin Wynn, DanceCompass and the Joyce ' Tristler THOMAS PATRICK grew up in West Virginia and Danscompany. She made her debut with the Taylor began his dance training at West Virginia University. After Company at the Spoleto Festival in Melbourne, Australia continuing his studies at the University of Cincinnati and in 1989. Ms. Berman presented her own choreography as a dancing with the Cincinnati Ballet, he joined the Taylor guest artist with the Tau Dance Theater in Honolulu in Company in the Spring of 1989. In addition to performing JJ.!Ile of 1998. She teaches at the Taylor School as well as with the Company, Mr. Patrick teaches on tour and at The workshops throughout the world, most notably in Taylor School. He has appeared in numerous concerts London, Tokyo, and Hawaii. Ms. Berman is on the board since coming to New York, and his choreography has been of the Hawaii State Dance Council and is an active performed in New York and North Carolina. member of Dancers Responding to AIDS.

CARYN HEILMAN has been a member of the Paul LISA VIOLA was born in San Francisco, California and Taylor Dance Company since 1989. She has a B.FA. from grew up in Honolulu, Hawaii where she received her early Copyright 2010, Michigan Opera Theatre DI'UVO 29 TOUI Poul 1St Profiles

training. She continued her ballet studies in New York TAKEHIRO UEYAMA is from Tokyo, Japan, where he with David Howard and at the Joffrey School and the began his dance studies with Tatsuo Mochizuki. In 1991 he School of American Ballet. She has performed with came to New York to study at The Juilliard School where DanceExpress, Sounddance, EastlWest Repertory Dance he received his degree in 1995. While at Juilliard he Ensemble, and with the Rod Rodgers Dance Company. danced works by Paul Taylor, Martha Graham, Agnes Ms. Viola was a scholarship student at The Taylor School DeMille, Jiri Kylian, Lila York, and others. He currently from 1990 until the fall of 1992, when she made her debut studies ballet with Finis ]hung and Kazuko Hirabayashi. with the Company in Costa Mesa, California. In December of 1995 he became a member of the . Taylor Company. RICHARD CHEN SEE is from the island of Jamaica where he studied ballet, modern and Afro-Caribbean TED THOMAS is a native New Yorker and attended the dance. He has danced for companies in England, Jamaica High School of Performing Arts. After receiving his B.F.A. and the United States, including Northern Ballet Theatre, from the State University of New York at Purchase, he Oakland Ballet and Oberlin Dance Company/ San went on to earn his Masters degree in Dance and Higher Francisco. Mr. Chen See has worked professionally as a Education from New York University. He has performed choreographer, children's storyteller, dance teacher and with Ballet Hispanico, the Elisa Monte Dance Company, coach. He is also a kayak instructor/guide and often works Murr~y Louis and Nikolais Dance Company, Kevin Wynn with the physically disabled. His debut with the Taylor Collection and Rebecca Kelly. Mr. Thomas joined the Company was at City Center in 1993 . Taylor Company in June of 1996.

KRISTI EGTVEDT came to New York from Mukilteo, HEATHER BEREST was born in Manhasset, New York. Washington to study on scholarship with Mary Anthony She began her training with her mother, Olga Berest, and and Paul Sanasardo, joining Mary Anthony Dance Theatre studied with Linda Zoffer and Ali Pourfarrokh. She went a year later. She has also danced with Bertram Ross, Nai Ni on to earn a B.F.A. at the North Carolina School of the Chen, Susan Jacobson & Dancers, Daniel Maloney's Arts and continues to study with Jocelyn Lorenz and Dance Probe, Colin Connor, and spent two years with the Christine Wright. Before joining the Taylor Company, Ms. Rebecca Kelly Dance Company. Ms. Egtvedt was a schol Berest danced with Neo Labos Dance Theatre, Momix, arship student at The Taylor School before becoming a . Peter Pucci, Robert Wood Dance ASC and Martita member of Taylor 2 in the summer of 1993. She made her Goshen. The 1996/ 97 season marked her debut with the debut with the Taylor Company during the 1993 New Taylor Company. YorkCity Center season. MAUREEN MANSFIELD began her dance training at SILVIA NEVJINSKY was born and raised in Lisbon, Adelphi University under the direction of Norman Walker. Portugal, and she received her early dance training from As well as being a member of Peter Pucci Plus Dancers for Rui Horta and at the Ballet Gulbenkian School. From 7 years, she has performed with the companies of Rebecca 1984 to 1989 she was a principal dancer with the Lisbon Kelly, Gail Gilbert, Robert Sorrentino and Rebecca Stenn. Dance Company, a contemporary repertory company. She In 1995, together with Yoav Kaddar, Ms. Mansfield creat moved to New York in 1989 and danced with the Lar ed Double Dance, a dance performance program of solos Lubovitch Dance Company for four and a half years, as and duets performed throughout Israel and Germany. Her well as appearing as a guest artist with several dance com teachers include Megan Gillen, Christine Wright and panies, including the Eglevsky Ballet, the Empire State Jocelyn Lorenz. A student at The Taylor School since 1986, Ballet, the New American Ballet Ensemble, and David she toured India as an understudy with the Paul Taylor Storey Dance Works. The October 1995 City Center Dance Company in January of 1997 and joined the Season marked her debut with the Paul Taylor Dance Company the following April. Company. She has taught in New York and abroad and currently studies with Finis Jhung and Wihelm Burmann. MICHAEL TRUSNOVEC grew up in Yaphank, NY and started dancing at age six. In 1992, he was honored by the ANDY LEBEAU began dancing with Taylor 2 in 1993 National Foundation for Advancement in the Arts and also after graduating from the Boston Conservatory with a named a Presidential Scholar in the Arts. He furthered his B.F.A. While in Boston, he performed with Ballet Theatre dance training at Southern Methodist University in Dallas, of Boston, Spencer/ Colton, Boston Liturgical Dance Texas performing the varied works of Humphrey, Graham, Company and The Roxy Dancers. In New York, he has Balachine, and Taylor. After receiving his BFA in dance in performed with Cortez & Company, Mary Cochran and 1996, he began working with Taylor 2, and has also danced Thomas Patrick, and presented his own work at The Sylvia with Cortez & Company. Fall 1998 marks his debut with and Danny Kaye Playhouse. The 1995 fall tour marked his the Taylor Company. debut with the Taylor Company. Copyright 2010, Michigan Opera Theatre 30 OrtlVO Paul Taylor Dance Co~JNF

THE PAUL TAYlOR DANCE FOUNDATION, INC. Special Thanks Private Domain 552 Broadway New York, New York 10012 The Paul Taylor Dance Paul Taylor's autobiography, Foundation gratefully acknowl Private Domain, was published Paul Taylor, Artistic Director edges major support for touring, in April 1987 by Alfred A. revivals, repertory preservation Knopf, Inc. and in paperback in Ross Kramberg, Executive Director and new productions provided March 1988 by North Point Bettie de Jong, Rehearsal Director by numerous individuals and the Press. The book was nominated following corporations and foun by the National Book Critics Mary Cochran, Director, Taylor 2 dations: ABC, Inc. Foundation, Circle as the most distinguished Jennifer Tipton, Lighting Designer The Buhl Family Foundation, biography of 1987. To order a I Chase Manhattan Foundations, copy, send a check or money Sa nto Loquasto, Costume Designer Robert Sterling Clark order for $16.00 (includes ship Foundation, Inc., The Eleanor ping and handling) made Donald York, Music Director Naylor Dana Charitable Trust, payable to the Paul Taylor Dance The Gladys Delmas Foundation, Company, 552 Broadway, New Paul Taylor Staff Marjorie S. Isaac The New York City Department York, NY 10012. Director 0/ Operations Walter Scheuer, of Cultural Affairs, Armand G. John Tomlinson Executive Vice President Erpf Fund, Alex J. Ettl Director 0/ Marketing Hazel Kandall Foundation, The Horace W The Taylor School and Development Carole K. Newman, Goldsmith :foundation, The Technique and repertory classes Darcy Gilpin Vice President Harkness Foundations for are held throughout the year and Special Assistant Wilfred Koplowitz Dance, The Andrew W Mellon are taught by major dance fig to the Executive Elise Jaffe, Foundation, The Metropolitan ures associated with Mr. Taylor Director Vice President and Treasurer Life Foundation, The Jaffe during his career. Additional Jennifer Ramsdell Foundation, The Jaffe Family information, schedules and regis Ross Kramberg Foundation, Marsh & tration forms are available from Assistant Director Robert E. Aberlin, 0/ Development Vice President McLennan, JP Morgan The Taylor School, 552 Lauriejean Reinhardt Charitable Trust, The National Broadway, New York, New Melinda Asman Krasting Endowment for the Arts, The York, 10012. (212) 431-5562. Associate Company Manager Walter Jaffe, New York State Council on the Pat Cioffi Secretary Arts, Samuel I. Newhouse Development Associate LeRoy Rubin Foundation, Inc., Nonesuch Andrew Yick Sally Brayley Bliss Records, Philip Morris Marketing Associate Samuel Scripps Companies Inc., The Billy Rose Heather Heckman Cecile Engel Foundation, Inc., The Fan Fox and Leslie R. Samuels Administrator William A. Shutzer Foundation, Inc., The Shubert Nicole Vandestienne Armand B. Erpf Foundation, Inc., Starr Studio Supervisor C.F Stone ill Foundations, Time Warner Inc., George Wilson Roger A. Goldman Nina W. Werblow Charitable Production Stage Manager Christine Wisner Trust, Weil, Gotshal, Manges LLP Stacey-Jo Marine Irene Hunter (Listing as 0/ August, 1998) Lighting Supervisor Tony Marques Wardrobe Supervisor Sabado Lam Production Manager, Taylor 2 Curious About Cremation? Donalee Katz Call the preferred Cremation Society in the area for answers to Dance Notator your questions and to receive a free brochure on our services. Robin Hoffman "We are committed to Board of Directors offering simple, dignified cremation~etyof '. Paul Taylor, seIvice at a low cost." A. Chairman .. ' Thomas F. Rost. President • Michigan Robert Hurwitz Serving all of Michigan Norton Belknap, President (313) 839-4100 • Toll Free (800) 241~3131 Copyright 2010, Michigan Opera Theatre tJrow 31 After the curtain call, it's on with the show. .. Just a few minutes away, the night's excitement continues. The PACE and the ENERGY define a very different and exciting brand of fun. Hot gaming, fine dining, and four-star comfort. It's a fabulous feeling!

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Opera in three acts Presented by Michigan Opera Theatre Music by Peter Illych Tchaikovsky Libretto by Peter Illych Tchaikovsky and Konstantin Shilovsky, based on the novel in verse by Aleksander Pushkin World,Premiere: March 17, 1879, Moscow

STEVEN MERCURIO Conductor ROMAN TERLECKYj Director PIER LUIGI SAMARITANI Scenery Design THE CAST JON LEHMEYER Costume Design In order of vocal appearance CHRISTINE SOLGER BINDER Lighting Design GARY ECKHART Scenery Restoration Consultant Tatyana SUZANNE MALLARE ACTON Chorus Master SVETELINA VASSILEVA* (May 15, 19 & 22) ELDAR ALiEV Choreographer MARY MILLS (May 16m, 21 & 23 m) ELSEN ASSOCIATES Make-Up & Hair Design JOHN KENNELLY Stage Manager Olga JULIE DeVAERE Surtitles owned by The Washington Opera Larina English translation by Francis Rizzo KATHLEEN SEGAR The scenery for this production is a generous and deeply appreciated Filipyevna, the Nurse gift of the Gramma Fisher Foundation of Marshalltown, Iowa. CANDACE DELATTRE Costumes constructed and owned by A. T. Jones Costumes, Lenski Baltimore, Maryland. DAVID MILLER Onegin lEI" General Motors. EVGENIj DMITRIEV (May 15, 19 & 22) The 1999 Spring season is sponsored by General Motors Corporation VICTOR BENEDETTI (May 16m, 21 & 23m) Triquet ~ Northern'frust BanI! ~ T1w!Privale Bank ANDREW FOSTER t The Saturday, May 15 Opening Night performance is sponsored by Zaretsky/Captain Northern Trust Bank MATTHEW CARROLLt Prince Gremin o h~~ffJON JAMES PATTERSON The Saturday, May 22 performance is sponsored by Lear Corporation

;, MOT Debut tMOT Artist Apprentice

Scene two Tatyana's bedroom Tatyana confesses her love for Onegin to Filipyevna. Left alone, she pours out her feelings in a letter, and is still awake when Filipyevna returns at dawn. She persuades the nurse to arrange delivery of the letter.

Scene three Another part 0/ the garden As the women pick fruit, Tatyana arrives agitated at the prospect of seeing Onegin. His reaction to the letter is cold and correct: though touched by her declaration, he considers himself unsuited for sette , marriage. He also urges her to greater self-control: other men could have responded unscrupulously.

Rura u la and ACT II, Scene one The reception room in Madame Larina's house. St. Petersburg, 18205 At a ball in honor of Tatyana's name day, Onegin is annoyed to hear gossip linking his name to hers. He decides to take revenge on Lensky for bringing him to the party, and provokes him by dancing with Olga. Lensky's jealousy is aroused, and the two men begin to ACT I, Scene one The garden o/Madame Lan'na's estate. quarrel. Lensky challenges Onegin to a duel. Onegin On a summer evening Madame Larina and the , realizes his joke has gone too far, but there is nothing old nurse Filipyevna are making jam. Prompted by he can do, and the ball ends in uproar. her daughter's singing, Larina recalls her youth and loveless marriage. Peasants return from harvesting, Scene two Outside the mill at dawn and the girls come out to watch their dancing. The Lensky awaits Onegin and contemplates his love Tatyana sisters, opposite in character, react in different ways; for Olga. When Onegin arrives, Zaretsky, Lensky's Olga wants to join in the celebrations while Tatyana is second, reminds the antagonists of the rules of supposes lost in daydreams. Visitors are announced: Lensky, a duelling. Both realize that reconciliation is possible, young poet betrothed to Olga, has brought with but their stubborness prevents it. Lensky is shot dead, Onegin him Onegin, who has just inherited the neighboring and Onegin is horrified at what he has done. country estate. The couples stroll in the garden; Lensky reaffirms his love for Olga, and Tatyana ACT III, Scene one St. Petersburg, th e ballroom 0/ to be supposes Onegin to be the hero of her dreams. When Prince Cremin's house. they return, Filipyevna notices the impression the Several years have passed during which Onegin, on the hero cold, sophisticated man has made on Tatyana. distant travels, has tried to erase memories. No sooner has he returned than he finds himself drawn back into of her society. At a ball attended by Prince Gremin, Onegin is struck by the young Princess Gremin, and recognizes dreams. her as Tatyana. Gremin, a retired general, relates to his guests how his new marriage has transformed his life, and introduces Onegin to Tatyana. She is disturbed by their encounter, pleads fatigue, and leaves. Suddenly Onegin realizes that he is consumed with love for her.

Scene two A drawing room 0/ Prince Cremin's house. Tatyana, reading a letter from Onegin, is agitated by his reappearance. When he rushes in and declares his love, she reminds him of his earlier coldheartedness, and wonders if his new interest has anything to do with her improved social position. But Onegin's pas sion and evident self-reproach for his past conduct quell her doubts. She admits that she loves him, but resolves to remain true to her husband and insists that Onegin leave. Onegin begs her to elope with him, but she rushes out, bidding him farewell forever. Onegin Copyright 2010, Michigan Operais left Theatre alone. 34 OIllVO ON STAGE VICTOR BENEDETTI (title role), making his MOT debut, has appeared several times wirh Lyric Opera of Chicago and New York City Opera. eugene The versatile baritone's wide repertoire includes Enrico in Lucia di Lammermoor, Papageno in The Magic Flute, Escamillo in La Boheme and Marcello in Carmen . In 1995 he created rhe lead role for rhe premiere of Bruce Saylor's Orpheus Descending. The finalist at Placido Domingo's 1997 "Operalia" in Tokyo was Profiles winner of rhat year's George London onegiQrtist Foundation Award. Michigan Opera Th eatre is proud to present the following arti sts .

JULIE DE VAERE DAVID MILLER KATHLEEN SEGAR Mezzo-soprano Tenor David Miller Mezzo-soprano Julie De Vaere (Alisa) (Lenski), from Colorado, Kathleen Segar is completing her returns to rhe Company (Larena) has sung second season at MOT, one year after his more than a dozen having also appeared successful debut as roles with MOT, in The Magic Flute, Chevalier Des Grieux notably Smeton to Joan Manon , and Lucia di in Manon. He recently Sutherland's Anna Bolena. Lammermoor. Before rhat, rhe sourhern appeared as Tybalt in Romeo and Juliet The versatile Ms. Segar has also appeared \vith California native completed two seasons and Flavio in Norma wirh rhe Pittsburgh rhe Metropolitan Opera, Washington Opera, ;IS an Apprentice Artist wirh Opera Pacific, Opera, and Romeo in [ Capuleti ed I Opera Company of Philadelphia, and New York appearing in Die Fledermaus and Rigoletto. Montecchi and Ferrando in Cosl/an tutte City Opera's National Company. Her wide Her repertoire also includes Nicklausse wirh rhe Pittsburgh Opera Center. Mr. and varied repertiore includes The MagIC Flute, in The Tales o/Hoffmann, Zita in.Giannz Miller's repertoire also includes Beppe in Lucia di Lammermoor, Rigoletto, The Tales 0/ Schicchi, and C:herubino in The Marriage I Pagliacci, Wagner and Nerus in Me/zsto/ele Hoffman, Carmen, Eugene Onegin, Die Walkure, 0/ Figaro. Among her awards are a NATS and Ruggero in La Rondine. Ariadne au/ Naxos and The Ballad 0/ Baby Doe. . Apprentice Artist Award and rhe Young Musicians Scholarship:

EVGENII DMITRIEV MARY MILLS ROMAN TERLECKYI Evgenij Dmitriev Soprano Mary Mills Roman Terleckyj (Onegin) was born (Tatyana) makes her (director), born in and raised in Salavat, rhird appearance at rhe Bradford, England, Russia, and studied Detroit Opera House has a long association voice at rhe Tchaikovsky she performed at its \vith MOT. For the Conservatory in Moscow. opening gala and as Company, he has directed The baritone recently Mimi in MOT's 1996 productions of Carmen, appeared at rhe Vienna State Opera (Un Ballo La Boheme. Since that time Miss Mills has Ariadne au/ Naxos, Turandot, La Boheme, in Maschera), and at rhe Innsbruck Opera, performed in opera houses rhroughout rhe The Marrzage 0/ Figaro, The Flying Dutchman, Austria. In 1997 he portrayed Miller in a new United States, Sourh America and Europe. Aida and Manon. In 1993 Terleckyj became production of Verdi's Luisa Miller at Canadian Her diverse repertiore includes Zdenka the first American awarded the Premio Abbiati Opera, and rhe following season he made his (Metropolitan Opera, 1996) and rhe title by the National Association of Italian Music debut in France. Last fall he made his U.S. role of J anack's The Cunning Little Vixen Critics for his direction of Stravinsky's The debut in MOT's Lucia di Lammermoor (Washington Opera). Miss Mills was Rakes Progress at rhe Spoleto Festival in Italy. winner of rhe 1989 Metropolitan Opera The former directing assistant to Gian Carlo auditions and rhe San Francisco Opera Menotti was Director of Production for The Center Auditions. Washington Opera from 1982 through 1996.

STEVEN MERCURIO JAMES PAITERSON SVETELINA VASSILEVA New York-born Steven Since beginning his Making her MOT debut, Mercurio (conductor) career as an Adler Fellow Bulgarian soprano Svetelina has conducted rhe opera with the San Francisco Vassileva (Tatyana) is one of companies of Rome, Opera in 1983, bass a handful of young artists San Francisco, Brussels, James Patterson (Prince emerging from Eastern London, Seattle, Costa Gremin) has given more Europe into the international Mesa, Washington, than 150 performances spotlight. Career highlights include singing rhe Dallas and Pittsburgh, among others. He with that company including Sparafucile in title role in Fibich's Sharka for the Wexford was Music Director of rhe Spoleto Festival Rigoletto, and Fafner in the company's widely Festival; It Trovatore and Russian and Ludmila (Italy), Principal Conductor of rhe Opera acclaimed Ring cycle. He has also sung with for San Francisco Opera; Don Carlo for Company of Philadelphia and Associate Chicago Lyric Opera (Tosca and The Force Bulgarian State Opera; a debut with Covent Conductor of rhe Brooklyn Philharmonic. 0/ Destiny, among orhers), and extensively Garden in new productions of He is featured on many Sony Classical Label in Canada. This is Mr. Patterson's ninrh I Pagllacci and Th e Bartered BrIde; and her recordings and videos and has several film appearance with MOT; his most recent Canadian Opera Company debut in Turandot. credits. Theluilliard alumnus is borh a appearance here was as the Bonze in She has also sung concerts throughout Bulgaria, champion 0 contemporary music and this spring's Madame Butterfly. Russia, Poland and the Netherlands. himself a prolific composer. This marks Copyright 2010, Michigan Opera Theatre rhe Maestro's sevenrh visit to MOT. OI'llVU 35 duty, regret and above all, fate-or This insecure, frightened man what a 20th-century poet would was also homosexual in an age less tru later call "the road not taken. " tolerant of sexual variety than ours. Put simply, Eugene Onegin is an Tchaikovsky brooded endlessly over opera about ordinary human his attraction to men, to which he beings who love tbe wrong people referred in his letters by means of by Scott Heumann or tbe right people at the wrong code-words or the letter "z," as in, time-and are fated to make choices "Z was bothering me again today." tbat adversely affect the rest of The fact of his homosexuality is tbeir lives. The key characters are perhaps less important tban how classics of 19th-century literature: he felt about it. His brother the bored gentleman, the sincere Modest was also homosexual yet ighteen sevety-seven was "The country girl and the impetuous had none of the same emotional Year of Fate," according to poet. The title character is a problems. Unlike him, Peter Tchaikovsky's biographer, David gentleman of leisure, flush with Tchaikovsky was terrified of expo eBrown. Tchaikovsky was obsessed. inherited wealth but disillusioned sure- as a public figure he perhaps To his patroness, Nadezhda von and bored. A quasi-Byronic figure, had more to lose than tbe less cele Meek, he declared tbat his Fourth he does not know what he wants brated Modest- and he feared the Symphony was about "that fateful but what is available he finds trivial lonely fate of Onegin. We know force which prevents the impulse and unsatisfying. Tatyana, a simple from his attachment to his sister to happiness from attaining its goal, country girl of seventeen when the Alexandra's children that he which jealously assures that peace opera begins, becomes a' lady of longed for tbe stability of family and happiness shall not be complete fashion as tlle opera ends. Through life and, more pragmatically, he and unclouded, which hangs above out, however, she is candid, sincere, longed for a wife who would be his your head like the sword of Damocles, and yearning for love. The poet badge of normality. and unwaveringly, constantly Lensky, the third principal figure, At this vulnerable point for tbe Why poisons the soul." is a romantic young man in love composer, Onegin, witb its alienated Indeed, 1877 was also the year with Tatyana's sister, the pretty but hero and fatalistic message, entered .does that Peter Tchaikovsky wrote his vapid Olga. his life and, coincidentally, so did most successful opera, Eugene What is this construct of Antonina Ivanova Milyukova. A Oneoin Onegin, based on Pushkin's classic Tchaikovsky's which contains a total stranger, she wrote him a . o poem written half a century duel between friends and ill-fated letter in which she claimed to have nngso before. When the soprano Elizaveta lovers who bemoan their fate? "A loved him for years, since her days Lavrovskaya first suggested Onegin, psychological study of a small as a student at the Moscow Tchaikovsky dismissed the idea as circle of people" is what the Conservatory, where he taught true? untheatrical because it was a conductor Mitropoulos called this music. Tchaikovsky disregarded departure from the heroic work; Tchaikovsky himself called it her first letter, but after beginning subjects then in vogue. His "lyric scenes," avoiding the term work on Onegin, he received a sec own attempts at a conventional "opera. " It is unique, a personal ond letter, more passionate than grand opera, however, such work lacking the impact of grand the first. The sinlliarity to Tatyana's as Mezeppa and The Maid opera yet speaking to the heart letter was unmistakable: "You have 0/ Orleans, had failed with an almost cinematic directness. the power to punish me with your precisely because he Why does Onegin ring so true? contempt, but if you have a drop of found in them so little Perhaps it is that Tchaikovsky the pity, you will not abandon me .. . that was relevant to man, and tbe circumstances of his I could never give my heart to his own life and emo life in 1877 , were so parallel to the anyone else in the world. It is the tions. The more he opera he was creating. He was will of heaven, I am yours. All my considered Onegin, hypersensitive, sickly, shy and life has been a pledge of our union. the more fascinated given to crippling anxiety attacks God sent you to me, you are my he became, for this and morbid obsessions. For example, keeper till I die." book mirrored his his first attempt at conducting was Tchaikovsky, after an exchange private concerns: love, a failure because on the podium he of letters, met the young woman was so anxious, that he became and found her pleasant enough. absolutely certain his head was Since her object was clearly going to fall off; from that point on, matrimony, he explained delicately the audience saw the bizarre what the nature of their marriage spectacle of the composer waving a might be, in a manner perhaps not baton feebly witb one hand and too different from Onegin's speech Photo: Courtesy PalmCopyright Beach Opera 2010,holdin Michigang onto his chin Opera witb Theatretbe otber. to Tatyana: "If I wished to live 36 oruvo ON STAGE

my life in the limits of the family certainly never expected that Although with some composers, circle, if Fate had decreed that I Rubenstein would take tea at my Mozart is an example, biography should play the role of husband home today." can be a misleading means of inter and father, no doubt I would The trauma of Tchaikovsky's preting a given score, with have sought no bride but you. But marriage had interrupted Onegin Tchaikovsky, life and art are almost God sent I was not made for wedded two-thirds through, but once inseparable. Onegin, Tatyana and bliss, it is alien to my soul. Your separated from Antonina, the Lensky come alive on the stage you to perfections are in vain, for I am composer resumed work on the today because they were personal quite unworthy of them. Believe score almost as a form of therapy. icons for the composer. In me, you me, married life would be a The man who had recently Tatyana's yearning for love, in torment for both of us . . . " jumped into a river in despair Onegin's alienation, and in are my Antonina, however, said that she found his feelings voiced in Lensky's fatalism , Tchaikovsky understood and accepted him as he Lensky's aria: "What does the found points of empathy that keeper was. Although he was not in the dawn hold for me? In vain I try to awakened his most sincere musical least attracted to her, the see it. It lies hidden in shadow, for responses. Like the characters of till I die. composer began to regard it as his that is the law of Fate. Whether I his opera, he had confronted his fate to marry this girl he barely am pierced by the arrow, or destiny, made difficult choices and knew. He confessed his plans to whether it flies past me, it's all for endured the consequences; out of Madame von Meek in a letter the best. There is a time for waking his experience came a document of which closed with this sentence: and sleeping. Blessed be the day of compelling truthfulness. "In a day or two my marriage with care, blessed be the coming Reprinted courtesy , her will take place. What will happen of night . . . " 0/ San Diego Opera. after that I do not know ... If I am marrying without love, it is because circumstance conspired to make it impossible for me to do otherwise. " The marriage was a disaster wor:thy of a Russian novel. It lasted only two and a half months, at the end of which time Tchaikovsky had a complete nervous breakdown, attempted suicide by jumping into a freezing river and had to be = ~ = rescued by his brothers. He never saw Antonina again, although he We look forward to creating the perfect provided for her the rest of his life. landscape design for you. Antonina was no Tatyana. She Visit our unique selection of was unstable, possibly promiscuous annuals & perennials. and certainly unintelligent. She seems to have pursued ~ Tchaikovsky as "groupies" pursue rock stars today. After their marriage ~~- the composer was staggered to I:AT(),... learn that his wife had never heard NURSI:RY LID a note of his music. Even more revealing is what took place 5899 W. Maple· West Bloomfield after Tchaikovsky left Antonina to ryv. of Orcharo lake ) recuperate at the home of Modest. 1-800-500-5522 • 248-851 -5440 Anatoly Tchaikovsky, brother of Visit our Website Peter and Modest, and the composer of Nikolai Rubenstein went to break the news to Antonina that her husband was under orders from his doctor to avoid all contact with her. She took the news calmly and offered her visitors tea; and when Rubinstein stepped out the door, she turned to Anatoly with a smile and exclaimed, "I Copyright 2010, Michigan Opera Theatre OIllVO 37 Ii': I: , 1'1\1\ II: II ' : I, 'II I'II' I , , ': I I I I I

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Photo: Courtesy of Michigan Opera Theatre Archives June 5-13

THE CAST Opera in three acts Presented by Michigan Opera Theatre In order of vocal appearance Music by Camille Saint-Saens Samson Libretto by Ferdinand Lemaire based on the Biblical story in the Book of Judges MARK lUNDBURG* Uune 5,9 &12) World Premiere: December 2, 1877, Weimar IAN DE NOLFO Uune 6m, 11 &n 13m) Abimelech CHRISTIAN BADEA Conductor DONALD C. HARTMANN DEJAN MILADINOVIC Director High Priest of Dagon ELDAR ALiEV Choreographer GREGG BAKER ROBERTO OSWALD Scenery Design BEN I MONTRESSOR Costume Design Messenger KENDALL SMITH LIghting Design ANDREW FOSTERt ELSEN ASSOCIATES Make-up and Hair Design Old Hebrew SUZANNE MALLARE ACTON Chorus Master JAMES PATIERSON JOHN KENNELLY Stage Manager Delilah The scenery for this production is owned by the Baltimore Opera. IRINA MISHURA Costumes owned by H ouston Grand Opera

" MOT Debut II' General Motors. tMOT Artist Apprentice The 1999 Spring season is sponsored by General Motors Corporation .'I"S'Ii. ,The Friday,June 11 performance is sponsored by Comerica, Incorporated. The Saturday, June 12 performance is sponsored by the Detroit Edison Foundation Copyright 2010, Michigan Opera Theatre OIIlVO 39 ON STAGE

Philistines to avenge the satrap's death (Maudite a jamais soit la race) . When a messenger arrives to report that the Hebrews are destroying the harvest, the Philistines run away. As dawn breaks, the Hebrews return to the square, praying (Hymne de joie). Delilah and her maidens come from the temple, bearing garlands for the victo rious Hebrews (Voici Ie printemps). When Delilah tries to seduce Samson, an old Hebrew warns him to beware. The maidens dance voluptuously, trying to entice the Hebrew warriors. As Delilah sings that she will wait for her lover in the flower-scented valley (Printemps qui commence), Samson prays for the se tin strength to resist her charms. ACT" Delilah's house in the valley 0/ Sorek. aza In Iblical times Delilah broods over ways to destroy Samson, the enemy of her gods, and calls upon the magic of love to help her (Amours! viens aider rna faiblesse! ). As light ning flashes in the sky, the High Priest arrives to enlist ACT I A public square in Gaza with the Temple 0/ her aid in overcoming the Hebrews. He fuels her Dagon, at night. hatred by suggesting that Samson laughs at her As the Hebrews bewail their bondage to the attempts at seduction. Angered, Delilah vows to seek Philistines, Samson urges them to have faith in God vengeance and to uncover the secret of Samson's phys (Arretez, 0 mes freres!). Abimelech enters, ical strength. In the midst of the storm, Samson mocking their God and proclaiming arrives. Although he tries to resist, he is soon carried the superiority of Dagon. He away by passion and succumbs to Delilah, who ecsta attacks Samson with a sword, tically sings the alluring Mon coeur s' ouvre atoi voix. but Samson grabs it and She begs to know his secret, but Samson refuses, kills him. The Hebrews break denouncing her as a temptress. Angrily, she enters her their bonds and house, but Samson follows. Shortly afterwards she escape. The calls triumphantly to the Philistines, who have been High Priest gradually creeping towards the house, and Samson cries out that he has been betrayed.

ACT III, Scene one The prison at Gaza. Chained and blinded by the Philistines, Samson turns a mill stone in the prison, begging God to take his life in return for his people's freedom (Vois rna misere, helas!) . In the distance the voices of the Hebrews denounce Samson for having abandoned them (Samson, qu'as-tu fait du Dieu de tes peres). Philistines enter and lead him away.

Scene two The Temple 0/ Dagon. The Philistines celebrate their victory over the Hebrews and dance a wild bacchanal. Samson is led into the temple by a child. He is mocked by the Philistines, particularly by Delilah, who recalls his for mer passion by singing snatches of the melodies heard in Act II. Samson asks to be led between the two pil lars that support the temple roof. Praying to God for one last burst of strength (Souviens-toi de ton servi teur) , he seizes the pillars, which begin to give way. A scream of horror erupts as the roof crashes down, burying Samson along with his enemies.

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ince 1600 when Emilio de' though more than ten years would most people predicting that no Cavalieri's Representation 0/ elapse between conception and theater manager would stage Sthe Soul and the Body was premiere, Samson and Delilah was an opera on a religious subject. performed in the Oratory of St. worth the wait. Combining the best Discouraged, Saint-Saens aban Philip Neri during Roman carnival features of opera and oratorio, it is doned the score. "An season, initiating a genre that a work of striking beauty and dra A few years later Saint-Saens would soon be called "oratorio," matic power, one of the best-loved expressed his disappointment Oratorio! there had usually been a distinction in the French repertory. about Samson and Delilah to the between the serious piety of oratorio It was in 1867 that Saint-Saens, composer Franz Liszt. Without No, let's and the fiery passion of opera. But who had always admired Handel even hearing the work, Liszt some works connect to both and Mendelssohn's oratorios and promised to secure a performance make -it worlds. Even Handel's Samson, had grown up on the grand operas in Weimar, where he was music whose hero is vanquished by of Meyerbeer, and who enthusi director. Encouraged, Saint-Saens an opera!" hedonism and lust, is actually astically supported the renewed resumed work on the opera. In opera camouflaged as oratorio. interest in French choral music, the meantime, his La princesse The biblical account of Samson, began collaborating with Lemaire jaune was premiered at the the powerful Hebrew leader, and on Samson and Delilah. The Opera-Comique in 1872, but it the beautiful and treacherous composer outlined the story, based was dropped after only five DeWah also appealed to on Chapter 16 of the Book of performances. '\19th-century French Judges, and sketched in the musical In 1874 Saint-Saens' friend, the composer Camille nun1bers, while Lemaire, an renowned mezzo-soprano Pauline Saint-Saens who, amateur Creole poet who had Viardot, for whom he had like Handel, married Saint-Saen's cousin, conceived the role of DeWah and wanted to supplied the verses. They omitted to whom he eventually dedicated the mighty deeds that earned Samson and Delilah, organized a torio on Samson his leadership of the performance of Act II in a Parisian the story. Yet Hebrews, presenting instead a man garden. When the composer saw when Saint-Saens torn between duty to his people the exotic scenery and costumes asked Ferdinand and love for a desirable woman. and heard Viardot's DeWah, he Lemaire for a DeWah is portrayed as a wicked exclain1ed, "Ab, how beautiful it libretto, the young temptress, who seeks to destroy is!" Yet the audience of theater poet declared, "An Samson, not merely out of loyalty managers and impresarios, including oratorio! No, let's to her gods or to her people, but the director of the Paris Opera, make it an opera!" because he dared to reject her. was unenthusiastic, even hostile, d make it an By the time he began Samson considering the work too , they did and Delilah, Saint-Saens had Wagnerian in its orchestration and of passion, lust, already composed one opera, the use of motives. Moreover, despite hatred, and ven opera fantastique Le timbre d'a r many precedents, some people geance, all support gent, although that work was not continued to be alarmed at the ed by extraordinar staged until early 1877 at the prospect of a biblical subject on ily beautiful music Theatre Lyrique in Paris. He began stage. The following year, Act I was and vivid specta with the passionate second act, in given a concert performance in cle, yet with the which DeWah succeeds in seducing Paris, but it was harshly criticized religious underpin the powerful Samson, a portion of for "its absence of melody" and for nings and power which was tried out in private "instrumentation which nowhere ful choruses of performances later that year. The rises above the level of the ordinary." -';3 ()r

ever having Samson and Delilah garden, while colorful percussive Saens' word setting IS always produced, Saint-Saens once again effects accompany the exotic impeccable. laid the score aside. dances and intensify the barbarism Saint-Saens went on to write Finally, as he had promised, of the Philistines. A subtle use of several more operas, but Samson Liszt succeeded in arranging a recurring themes and motives, and Delilah is his most imaginative performance of the opera in also inspired by Wagner as well score, and his only opera that "but for Weimar. Saint-Saens completed as by Saint-Saens' French predeces remains in the repertory. Although the score, and on 2 Decem ber sors, imparts unity to an opera he was eventually to turn Liszt, 1877 Sa mson and Delilah was that has many diverse elements: again st Wagner's music, Samson premiered, in a German translation contrapuntal choruses, psalm-like and Delilah was surely influenced Samson by Richard Pohl, at Weimar's chant, delicate arias, and exotic by Der /liegende Holla'nder and Grossherzogliches Theater. Saint dances. Lohengrin. It also owes a debt Saens received an ovation after The characters are vividly to Handel's oratorios, Meyerbeer's would Act II, and when the final curtain drawn. Delilah's melodies are grand operas, Berlioz's L' en/ance fell he was heaped with laurel subtly sensuous, imbued with a du Christ and Les Troyens , never wreaths. At a dinner that evening, voluptuous chromaticism, while Gounod's Faust, and the entire he gratefully toas ted "our dear Samson's are noble and elegant. repertory of Italian romantic have Liszt" and later declared that "but The love aria/ duet that is central to opera. Indeed, with Samson and for Liszt, Samson would never Act II is memorable in its simplicity Delilah Saint-Saens achieved a existed." have existed." German conductor and naturalness, ranking as one of unique synthesis of French, Hans von Bulow wrote that the most beautiful in all of French German, and Italian styles; a fusion Samson and Delilah was the best opera. Even the lesser characters, of baroque pageantry, classic and most successful opera of the High Priest, Abimelech, and repose, and romantic frenzy; and a its day {in all probability with the Old Hebrew, are carefully blend of spiritual fervor and carnal the exception of Wagner's) and delineated through their musical desire-in an opera on an ancient that Saint-Saens was "the only lines. Lyrical declamation substitutes tale that is as modern as ever. contemporary musician to have for bland recitative, and Saint- pr.ofited usefully from Wagner's ,------theories without allowing himself to be led astray by them." Thirteen years would elapse before Samson and Delilah was Technological staged in the original French. A second German production took place in H am burg in 1882 , Craftsmanship and the opera finally received its French debut in Rouen in 1890. It was not produced at the Paris Opera until 23 November 1892. Saint-Saens' music is inspired, displaying his instinct for effective theater. There is no overture, but the somber mood is established by the opening chorus, in which the Hebrews bewail their captivity in chant-like phrases. Indeed, the choral writing throughout is powerful, betraying the opera's genesis as an oratorio. While owing a debt to both Berlioz and Wagner, the instrumentation is distinctly individual and highly imaginative. In Act I, Abimelech's entrance is marked by two ophicleides , and Samson's fervor is underscored by a harp. The 29880 Groesbeck Hwy, Rosevill e, Michigan 48066 prelude to Act II paints a musical (313) 778-3570 FAX: (313) 778-3931 picture of Delilah 's tropical Copyright 2010, Michigan Opera Theatre IIfHVU 43 MARK LUNDBERG Mark Lundberg (Samson) has established hinlself SOPlson as an im po rtan t figure in opera's new generation. Performing as a Heldentenor for a relatively short period of time, he has mastered a formidable repertoire, including &Oelil the roles of Samson and Pagliacci. He has recently appeared with Austin Lyric Opera, ist Profiles Deutsche Opel' Berlin, Royal Scottish Opera and Stuttgart Opera, and can be heard on the Calig recording label as Siegmund in Die Walkiire with Ivan Torz conducting. M ichiga n Opera Th ea tre is This is Mr. Lundberg's Michigan proud to present the following artists. Opera Theatre debut.

ElDAR ALiEV IAN DENOlFO DEJAN MllADINOVIC (choreographed Tenor Ian DeNolfo Yugoslavian-born emigrated from (Samson), from Hawaii, is Dejan Miladinovic Russia to the winner of the 1996 Lauritz (Director) has been United States in 1992 Melchior Heldentenor Director of Belgrade and joined Ballet Award, and was recipient of National Opera since International as a the 1992 Opera Index 1978, staging more than principal dancer, and Award and the Luciano one hundred produc was named Artisic Director in 1994. The Pavarotti International Voice Competition tions in Europe and abroad. Since making following season he premiered his first Award. Since completing his studies at tile his American debut at Dallas Opera in full-length ballet, A Thousand and One Curtis Institute in 1993 , he has been in demand 1990 (Prince Igor), his work has been seen Nights. His new, expanded version of The throughout Europe and North America. Career throughout the United States. His work in Nutcracker, seen last December at the Detroit highlights include Macbeth with Deutsche Opel' this country has included Eugene Onegin, Opera Hous

CHRISTIAN BADEA ANDREW FOSTER IRINA MISHURA Christian Badea 1998-99 Young For several years the (Conductor) has Artist Apprentice leading mezzo-soprano appeared regularily Andrew Foster of the Moldavian State at the Metropolitan (the Messenger) made Opera in Russia, Irina Opera (including the his company debut as Mishura (DeWall) ; 1990-91 Gala Opening), Arturo and Normano moved to the U.S. in the Houston Grand in last fall's LUCIa di 1992 and caught the Opera, Canadian Opera in Toronto, Lammermoor. The previous season he sang attention of the western opera world as Montreal Opera, Baltimore Opera and Beppe in I Paglzaed and Rinuccio in Gianni Suzuki in MOT's Madame Butterfly. other North American companies. He has Sehiechi \\rith OPERA!Lenawee. He has also Performances throughout the U.S. soon also enjoyed success throughout Europe, appeared with Atlanta Opera, Savoyards followed. She returned to MOT as conducting the Vienna State Opera (a new Light Opera, the Repertory Theatre of Carmen in 1996 (a role she repeated at production of The Tales 0/ Hoffmann) , St. Louis, Opera Maine and ISOMATA San Francisco Opera), and Arnneris in Bavarian State Opera, Hanlburg State in Idyllwild. His repertoire includes The Aida in 1997. The rising star, who now Opera, the Grand Teatro Regio in Torino, Turn 0/ the Screw, Aida, Faust, calls Detroit home, will soon make and others. Maestro Badea's extended Norma and It Trovatore. her Metropolitan Opera debut. discography features a Grammy Award winning recording of Samuel Barber's Antony and Cleopatra.

GREGG BAKER DONALD HARTMANN JAMES PAITERSON Gregg Baker (High Bass-baritone Since beginning his Priest of Dagon) first Donald Hartmann career as an Adler Fellow appeared at MOT in (Abimelech), born in with the San Francisco 1982 (as Crown in Greensboro, North Opera in 1983, bass Porgy and Bess), and has Carolina, has appeared James Patterson (the old returned to sing in several 1 \vith Michigan Opera Hebrew) has given more productions, including " Theatre eight times 'since than 150 performances the Detroit Opera House opening gala. This 1994. The veteran of more than seventy "rith that company including Sparafucile season the Metropolitan Opera also invited opera productions has a varied repertoire of in Rigaletto, and Fafner in the company's him back to sing Escamillo in Carmen and dramatic and comedic roles. He has sung widely acclaimed Ring cycle. H e has also Amonasro in Azda under the baton ofJames Alfio (Cavallena Rusticana), Sacristan and sung \vith Chicago Lyric Opera (Tosca and Levine. Other career highlights include the Angelotti (Tosea ), the King (Azda), Don The Force o/Destiny, among others), and role of Amonasro in a new Franco Zeffirelli Giovanni, Marcello and Colline (La Boheme), extensively in Canada. This is Mr. Patterson's production of Azda in Japan, and a Covent Dr. Falke (Die Fledermaus) and many others. ninth appearance with MOT-his most Garden performance of Porgy and Bess which Dr. Hartmann is an Associate Professor of recent appearance was as the Bonze in was recorded and released on home video. Musi c at Eastern Michigan University. this spring's Madame Butterfly. Copyright 2010, Michigan Opera Theatre 44 tJl1lVO ORCHESTRA & CHORUS

c h e s t r a Or ViOlA OBOE Ava Ordman ' John Madi so n ' Kristen Beene, Michae l Tyrrell M ic higan O~era Theatre Principal Acting Principa l TUBA 'Scott Stefanko Caro l Guither Ph ill ip Si nder VIOLIN I ' Kath lee n Grimes Kristin Reynolds TIMPANI 'Charl otte Merkerso n ' Barbara Zmich CLARINET ' Gregory White Concertmaster James Greer ' Brian Bowman Prin cipa l ' Veld a Kelly Tracy Ri ggs Principal PERCU SS ION ' Sas ha Margolis Barbara Sto lberg ' Jane Car l ' John F. Dorsey James Kuj awski Jul ianne Zinn Kimberl y Aseltine Principal Ju lia Kurtyka CEllO Craig Ryd ing Ke ith Claeys Michael McG illivray ' Nadine Deleury BASSOON Dan Maslanka Charles Roth Principal ' Kirkland D. Ferris David Tay lor Elizabeth Rowin ' Di ane Bredesen Principal HARP Eugeni a Song ' Minka Christoff ' Scott Armstrong ' Patricia Terry-Ross Kathryn Stepu lI a ' Robert Reed Nora Shankin Principal Melody Wootton Robert Clemens HORN VIOLIN II Sara h Cleveland 'Susan Mutter PERSONNEL MA NAGER 'Victoria Haltom John latzko Principal ' Diane Bredese n Principal Irina Tikhonova 'Carrie Banfield 'Brooke Hop lamazia n Eugene Zenze n Celeste Mclellan *=member, Michiga n Opera 'Anna Weller BASS Connie Hutchin son Theatre Orchestra ' Aurelian Oprea ' Derek Weller TRU MPET Monica Jackson Principal D'lvid Kuehn Detroit Federation of Constance Markwick Larry Bjornson Acting Principal Musicians, Loca l #5, Marl a Sm ith Margot Hamilton ' Gordon Simmons American Federation of Mary Sto lberg Shawn Wood Mark Fl egg Musicians. Janet Su ll in s FLUTE David Hunsicke r Andrew Wu ' Pamela Hi ll TROMBONE Chery l Zetterholm Principa l ' Mau ry Okun ' Laura Larson Principal Wendy Hohm eyer ' Greg Near Helen Near Greg Lanzi

Lou isa A. Fisher Kim L. Millard Lawrence Stotsbery Yvonne M. Friday Jean in e Head Miller Ju dith Szefi Michigan Opera Theatre Roberta Goergen James Mackey Moore Jim Talpos Eric Gardner Anthony C. Nota Dean Unick Ru sse ll Amerson Rosa li n Co ntrera Guastella Jennifer L. Oliver Justin Watso n Chri s Bauder Don ald Thomas Jackson Darren Orta James R. Well s Darrow Berni ck Jason Jackson Patri ck O'Reill y Virgini a "Ginn i" Winters Victoria Bige low Clarence E. Jones Peggy O'Shaughnessey Timothy Wolf Kim Wayne Brooks Tom Kaba la Patricia Pierobon Em ily Wood Alaina J. Brown Cath leen Kenn y Darl ene Patterso n Eu gene Zweig Kr isten A. Brya nt Jeff Krueger Jan R. Phi llips Fred Buchalter Andrea Leap Monique Rica rd Th e America n Guild of Ruth Christensen Tamara Lehew Jolanta Rode Musica l Artists is the official Patri ck Jay Clampitt Dana Lentini Ka thryn Schmidt union of the Michiga n Opera Deborah J. Dail ey Ray Litt Robert H. Schram Th eatre voca l performers Michaella Patches Dionne Tony Lynch Kenn eth R. Shep herd Anthony Di xo n Joel Mapes Wi lliam Stein er Van essa Ferrio le Cynth ia Merr itt Steph en Stewa rt

xiI i a r y Chorus flu Monica Ce lizic Miranda Roberts Li nda Van Buren For Samson and Delilah Joe Dluzniewski Caro l Rosz ka Will Yeats Rackham Symphony Choir Gordon Fournier Anthony Rud a Ch ri stine Jarnick Virginia Perso n Suzanne Mal/are Acton, Mark Birac Anthony Johnson John Saetta M usic Director Michae l Boettcher Bettie Lyo ns Alan Sebasti an Donald Kukier, Maria Bonn ani Melissa Markey Lavern e Schenk Assistant Music Director Robert Ca rri ga n, Jr. CopyrightPatri 2010,cia Minni Michiganck OperaMary Theatre Anne Smigulac 1II 11VO 45 ooeror

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Michigan Opera Theatre gratefully NBDBank Supporters acknowledges the generous corporate donors The Eltxir 0/ Love Performance ($100 to $499) Sponsor The Aldoa Company who's contributions were made between July 1,1997 General Operating Support The Allied Companies, Inc. and June 30, 1998. Their generosity plays an Thomas Group, Inc. Ash Stevens Inc. integral part in the Company's financial stability, Porgy and Bess Performance The Birmingham Musicale necessary for producing quality grand opera, Sponsor B & W Cartage Company musical theatre and classical ballet. In addition The Broad Group Fellows Carhartt, Inc. to enjoying outstanding entertainment on stage, ($10,000 to $14,999) CBS Television Network MOT contributors are offered a number of Consumers Energy Foundation Willis Corroon Corporation opportunities which allow them to observe Community Programs Sponsor CUNA Mutual Insurance the many phases of opera production, Dearborn Federal Savings Bank meet the artists, and experience other Sustainers Detroit Heading Company, Inc. ($5,000 to $9,999) A.]. Erkin Construction Co. "behind the scenes" activities. AlliedSignal Inc. FM Capital Resources Barden Development John E. Green Company CORPORATE Kelly Services Inc. IATSE Local 38 CONTRIBUTIONS Porgy and Bess Student Sponsor JKC USA Corporation Grand Benefactors Thomas Madison Incorporated Albert Kahn Associates, Inc. ($200,000 and Above) African-American Photo Kemp, Klein, Umphrey & Ford Motor Company Exhibit Sponsor Endelman Foundation 1997" Fall Season Sponsor Progressive Tool & Industries Co. The Kroger Company of Michigan 1997 Opera Ball Sponsor Maddin, Hauser, Wartell, Roth , General Operating Support Patrons Heller & Pesses, Pc. General Motors Corporation ($2,500 to $4,999) Meijer, Inc. 1998 Spring Season Sponsor Alcoa Foundation Motor City Electric Co. Porgy and Bess Production Sponsor Berkshire Hathaway, Inc. Mu Phi Epsilon General Operating Support Campbell-Ewald NTH Consultants, Ltd. Deloitte & Touche LLP Opus One Si gnal Benefactors Eaton Corporation Plastomer Corporation ($50,000 to $199,000) MichCon Foundation PricewaterhouseCoopers LLP Chrysler Corporation Fund PVS Chemicals Inc. Schreiber Corporation 1997/ 1998 Dance Series Sponsor The Selwa Corporation, Inc. Community Programs Sponsor Donors The FD. Stella Products Company ($1 ,000 to $2,499) The Tuesday Musicale Major Benefactors AAA Michigan Veenstra Insurance Agency ($25,000 to $49,999) Atlas Tool, Inc. Ameritech Compuware Corporation FOUNDATION Opening Night Sponsor First of America Bank AND GOVERNMENT Hudson's GenCorp Worldwide Vehicle Sealing SUPPORT The Magic Flute Co-Production Howell Industries, Inc. Michigan Council for Arts and Sponsor Meritor Automotive, Inc. Cultural Affairs Merrill Lynch & Co. Foundation, Inc. National Endowment for the Arts Benefactors Porgy and Bess Patron Sponsor ($15,000 to $24,999) Metropolitan Life Foundation Si gnal Benefactors ANR Pipeline Co. Real Estate One Inc. $100,000 and above Porgy and Bess Performance The Renaissance Club McGregor Fund Sponsor Rodgers Chevrolet, Inc. The Skillman Foundation Comerica Incorporated Porgy and Bess Patron Sponsor Porgy and Bess Performance Royal Maccabees Life Insurance Co. M ajor Benefactor Sponsor Thyssen Inc. $25,000 - $99,999 Detroit Edison Foundation TriMount Development Matilda R. Wilson Fund The Magic Flute Performance Sponsor Contributors Benefactors Kmart Corporation ($500 to $999) $15,000 - $24,999 Student Performances Sponsor Ambassador Bridge James and Lynelle Holden Fund Lear Corporation Arvin North American Automotive The John S. and James L. Knight Manon Performance Sponsor Robert Bosch Corporation Foundation Michigan National Bank BridgestonelFirestone Trust Fund David M. Whitney Fund The Elixir 0/ Love Performance CSX Transportation Sponsor Hygrade Food Products Corporation Mattar Financial Corporation PPG Industries Foundation Copyright 2010, Michigan Opera Theatre III 1JVlI 49 MOT CONTRIBUTORS

Fellows The Clarence and Dr. & Mrs. Henry J. Dr. David DiChiera Alan E. and Marianne Dr. Barbara D Chapman & $10,000 - $14,999 Jack Himmel Spiro Mr. & Mrs. Cameron Schwam (Nate S. and Mr. Frank Andrews Mr. & Mrs. Lynn A. Duncan Ruth B. Shapero Mr. David Chivas Hudson-Webber Foundation Townsend Dr. & Mrs. Charles H. Foundation) Mr. & Mrs. Leonard Foundation The Sigmund and Mrs. Richard Van Dusen Duncan Mr. & Mrs. Donald E. Ciokajlo Oliver Dewey Marcks Sophie Rohlik Mr. & Mrs. George C. Mrs. Charles M. Endicott Schwendemann Mr. & Mrs. Frederick H. Foundation Foundation Vincent Mr. Stephen Ewing Mrs. Rosemary Skupny Clark The Samuel L. The Village Woman's Mr. & Mrs. R. Jamison Mr. & Mrs. Max Fisher Mr. & Mrs. S. Kinnie Ms. Virginia Clementi Williams, Sr. Mr. & Mrs. Samuel Smith,]r. Mr. & Mrs. David Cohn Westerman Club Foundation Dr. & Mrs. Sam B. Frankel Mr. & Mrs. William H. Mrs. Adelina C. Colby Foundation Young Woman's Williams Mr. & Mrs. & Andy Smith Mr. & Mrs. Michael J. Home Association Giancamilli Dr. & Mrs. Robert J. Connolly Sustainers Sustainer Dr. & Mrs. Thomas Sokol Dr. Mary Carol Conroy $2,500 - $4,999 Giancarlo Dr. & Mrs. Gerald H. Mrs. Ellen R. Cooper $5,000 - $9,999 1997-1998 GENERAL DIRECTOR'S CIRClE Mr. & Mrs. Terence Mrs. Aaron H. Stollman Mr. & Mrs. Peter CooRer Earl-Beth Foundation Impresario Adderley Gershenson Dr. & Mrs. L. Murray Mrs. Mary Rita Cuddohy Ann and Gordon $10,000+ Mrs. Judson B. Alford Mrs. John C. Griffin Thomas Dr. & Mrs. Victor Getty Mr. & Mrs. Robert A. Mr. & Mrs. Douglas Pres & Mary Happel Mr. & Mrs. Richard C. Curatolo Mr. & Mrs. David B. Foundation Allesee Allison Webb Julia Donovan Darlow & Mr. & Mrs. J. Addison Dr. Lourdes V. Andaya Hermelin Mrs. Beryl Winkelman John O'Meara Alice Kales Hartwick Bartush Mr. & Mrs. Raymond G. Mr. & Mrs. Frank Hoag Walter P. & Elizabeth B. Mr. & Mrs. Jerry Foundation Mr. & Mrs. Robert E. Antos Dr. & Mrs. Charles Work D'Avanzo Ralph L. and Dewar Mrs. Donald J. Atwood Kessler Mr. & Mrs. Lawrence N. Winifred E. Herman & Barbara Dr. & Mrs. Donald C. Mr. & Mrs. Thomas G. Donor David Austin Kirby $1,500 - $2,499 Mr. & Mrs. William J. Polk Foundation Frankel Mr. & Mrs. Irving Rose Hon. & Mrs. Edward Mr. & Mrs. Robert Klein Dr. Harold Mitchell Davis Sage Foundation Mr. & Mrs. George Avadenka Mr. & Mrs. Harvey Kline Arrington Mr. Jeffrey Dell The Mary Thompson Strumbos Mr. & Mrs. Douglas Dr. & Mrs. Richard W. Mr. John Baja Ted & Bonnie Dickens Foundation Balint Kulis Mrs. Irene M. Barbour Mr. David Disend Benefactor Mr. & Mrs. Lee Barthel Mr. & Mrs. Paul Lavins Mrs. James Merriam Ms. Mary Jane Doerr $5,000 - $9,999 Mrs. Carl O. Barton Mr. & Mrs. Raymond Barnes Drs. Paula & Michael Patrons Dr. & Mrs. Agustin Mr. & Mrs. Mark Alan Lehtinen Drs. John & Marilyn Duffy $2,500 - $4,999 Arbulu Baun Mr. & Mrs. Harry A. Belamaric Mr. Don F. Duggan Japanese Business Mr. & Mrs. David Mr. & Mrs. W. Victor Lomason Mr. & Mrs. Ara Berberian Lady Jane Easton Benjamin Dr. & Mrs. Henry W ' & Mr. & Mrs. John R. Society Aronow Mr. Mrs. Mandell L. Mr. & Mrs. G. Peter Mrs. Loris G. Birnkrant Maicki Berman Edman of Detroit Mr. Charles A. Bishop Mr. Edwin Lee Morrell Dr. & Mrs. John G. William & Barbara , Blom . Foundation Mr. & Mrs. Steve Mr. & Mrs. Douglas Mrs. Ruth Mott Bielawski Eversman The Karen & Djelebian Borden Mr. & Mrs. Charles Nave Mr. & Mrs. Maurice Mr. & Mrs. Paul E. Ewing Drew' Peslar Mrs. Roger W Hull Mr. & Mrs. Gerald Bright Mr. & Mrs. Marco Nobili Binkow Mr. & Mrs. Robert Z. Mr. & Mrs. Bernard T. Dr. & Mrs. Moon J. Pak Dr. & Mrs. David Bloom Feldstein Foundation Mr. & Mrs. Verne G. Istock Brodsky Mr. & Mrs. Kenneth A. Dr. & Mrs. Joseph L. Mr. & Mrs. Lloyd C. Fell Mr. & Mrs. Richard Janes Mrs. Martin L. Butzel Pickl,]r. Cahalan Mr. & Mrs. Herbert Fisher Donors Mr. & Mrs. E. Michael Honorable & Mrs. Avern Mrs. David Pollack Dr. & Mrs. Maurice Mrs. Elaine Fontana Mutchler Cohn Mr. Wayne J. Ruchgy Castle Mrs. Benson Ford, Jr. $1,000 - $2,499 Mr. Thomas Cohn Dr. Robert F Schirmer Mrs. Clarence G. Catallo Mrs. Rema Frankel Drusilla Farwell Mrs. Carolyn Ross Mr. Richard A. Sonenklar Mr. & Mrs. Willaim Dr. & Mrs. Victor J. Foundation DeBiasi Cervenak ~ ------, TRIBUTE FUND A time-honored custom is making contributions acknowledging a happy event or commemorating the memory of a loved one.

In lIonorof ______Amount $______In Memory of ______Date______o General Director's Send to Discretionary Fund o Education Program Fund o Artist's lIospitality Fund o General Operating Fund o Endowment Fund o Opera Production Fund From o Young Artists Apprentice Fund

Please make check payable to Michigan Opera Theatre 1526 Broadway Contributions are tax deductible. Detroit, MI48226

Mr. & Mrs. Joseph]. Mr. & Mrs. Loring Mr. & Mrs. E. Clarence Mrs. Laurie Sail & Dr. & Mrs. Clyde Wu Mr. & Mrs. William J. Adams Franzem Knoblauch Mularoni Dr. Bradley Sewick Dr. & Mrs. Jose E. Yanez Mr. Joseph Aqulina Mrs. Rona Freeland Dr. & Mrs. Alfred M. Mr. & Mrs. David Mulligan Mr. & Mrs. Frank C. Mr. & Mrs. Morton Zieve Ms. Virginia Argo Mrs. Lois Freeman Kreindler Mr. & Mrs. Jacq ues A. Shaler Mrs. Paul Zuckerman Mr. & Mrs. Harold Arnoldi Mr. & Mrs. Larry Garberding Mr. & Mrs. William Ku Nasser Ms. Elham Shayara Ms. Sylvia W. Baer Mrs. Stephanie Germack Martin Lappe & Mr. & Mrs. George W. Mr. & Mrs. Richard Sloan Camerata Andrea Z. & James M. Mr. & Mrs. Keith E. Gifford David Nowakowski NOlthan Ms. Phyllis Snow $1,000 - $1,499 Balcerski Mr. & Mrs. Alan 1. Gornick Mr. & Mrs. Don Laux Mr. & Mrs. Eino Nurme Mr. Edward Stahl Mrs. Margareta Berker Dr. Reuven BarLevav Dr. Joel E. Haas Dr. & Mrs. Melvin A. Mr. & Mrs. Jules Pallone Mr. & Mrs. Walter M. Mr. Elihu Brooks Dr. & Mrs. Jacques Mr. & Mrs. Stephen Les ter Mr. & Mrs. James Pamel Stark Dr. & Mrs. Sam Cia ceo Beaudoin Hagopian Mr. & Mrs. C. E. Letts Mr. Charles Parcell s Mr. & Mrs. Richard D. Drs. John & Margaret Miss Elaine Beresh Mrs. Alice Berberian Dr. Frank R. Lewis Mr. Michael W. Pease Starkweather Casey Mr. Stanislaw Bialoglowski . Haidosrian Dr. & Mrs. Kim K. Lie Dr. Robert E. 1. Perkins Mr. Oscar Stefanutri Mr. John Fleming Mrs. Judith Biggs Dr. & Mrs. Joel 1. Hamburger Dr. & Mrs. Robert Lisak Mr. John E. Perry Mrs. Mark C. Stevens Mr. & Mrs. George E. Dr. & Mrs. Eric Billes Mr. David Handleman Mrs. Florence Lapatin Mr. & Mrs. William T. Dr. & Mrs. Mack C. Stirling Frost Mr. & Mrs. Eugene W. Mr. & Mrs. Philip Handleman Mr. & Mrs. Alphonse S. Pbillips Mrs. Glorie Stonisch Dr. & Mrs. Julio Garcia Blancbard Ms. Mary C. Harms Lucarelli Mr. & Mrs. Kenneth Pickel Mr. & Mrs. Stephen Sweeney MsJane Adele Graf Hon. & Mrs. William F. Mr. & Mrs. Kenneth E. Dr. Charles E. Lucas Mr. & Mrs. Brock E. Plumb Ronald F. Switzer Mr. Marvin Van Heest Bledsoe Hart Hon .Jack Ma rrin & Ms. Ruth F. Rattner Mr. & Mrs. Joel D. Tauber Mr. & Mrs. Gerald Heller Mr. & Mrs. Lawrence B. Mr. & Mrs. E.]. Hartmann Dr. Bettye Arrington Dr. & Mrs. Robert Reid Mr. & Mrs. A. Alfred Mr. & Mrs. John A. Kirlin Boensch Mr. & Mrs. Eugene Hartwig Martin Mr. & Mrs. John Renick Taubman Mr. Kurt Kovalchik Dr. & Mrs. Norman J. Mr. & Mrs. Charles 1. Mr. & Mrs. Richard McB rien Mr. & Mrs. Tack Robinson Mr. & Mrs. Anthony Dr. Joel Kriegel Bolton Henritzy Mr. & Mrs. William Dr. & Mrs. Roge r Robinso n Tersigni Mr. Maurice Marshall Mr. & Mrs. Jack Bourget Dr. & Mrs. Jack H. Hertzler McCormi ck Mrs. Hans Rogind Mr. & Mrs. C. Thomas Dr. Robert Matth ews Ms. Ruth Bozian Miss Mary A. Hester Mrs. Wade H. McCree, Jr. Dr. & Mrs. No rman Toppin Mr. & Mrs. William T. Mr. Don Budny Mr. & Mrs. David Hill Mr. & Mrs. Stanley C. Rosenzweig Mr. & Mrs. Melvin McCormick, Jr. Mrs. Doreen Bull Ms. Mary Ann Hollars McDonald Mr. Allen Jay Ross Vander Brug Mr. Ronald K. Morrison Mr. & Mrs. Siegfried Mr. Leonard Jaques Mr. & Mrs. Angus Mr. & Mrs. Hugh C. Ross Mr. & Mrs. Robert Mr. & Mrs. Joseph R. Papp Buschmann Hon. & Mrs. Joseph McMillan Dr. & Mrs. Mark Rottenberg VaoderKloot Mr. & Mrs. Roger S. Penske Mr. & Mrs. Roy E. Impastato Dr. & Mrs. Paul Mentag Mrs. Sue Ruwart Mr. & Mrs. Steven 1. Ms. Irene Piccone Calcagno Miss H. Barbara Johnston Mr. & Mrs. Eugene Miller Mr. & Mrs. William Sandy Victor Dr. & Mrs. Peter J. Polidori Ms. c.R. CampiteUe Mrs. William Johnston Drs. Orlando & Dorothy Dr. & Mrs. Norman R. Mr & Mrs. Alvin Wasserman Mr. & Mrs. Marvin Rosenthal Mr. William F. Canever Mr. & Mrs. Sterling C. Miller Schakne Mr. & Mrs. Gary 1. Mr. & Mrs. George Roumell Miss Helen H. Cannon Jones, Jr. Dr. & Mrs. Harvey Minkin Mr. Thom as & Hon. Joan Wasserman Mr. & Mrs. Janles Smith Ms. Patricia B. Capalbo Mr. & Mrs. Maxwell Jospey Mr. & Mrs. Morkus Mitrius Young Schellenberg Mrs. Amelia H. Wilhelm Dr. & Mrs. Sheldon Sonkin Ms. Christine Censier Mr. & Mrs. John Kaplan Mr. & Mrs. Ca rl Mitseff Mr. & Mrs. Mark Schmidt Dr. & Mrs. Christopher D. Mrs. Jay H. Taylor Dr. Gregory Q. Clague Mr. & Mrs. Stephen D. Dr. & Mrs. Van C. Momon, J r. Ms. Susan Schooner Wilhelm Mr. & Dr. Sheldon Toll James & Marilyn Collins Kasle ' Mr. & Mrs. Theodore Drs. Theodore & Michelle Dr. Marilyn 1. Williamson Mrs. C. Theron Van Dusen Mr. & Mrs. Robert R. Dr. & Mrs. Sherman Kay Monolidis Schreiber Mr. & Mrs. Eric A. Cosner Mi. & Mrs. Donald Keirn Mr. & Mrs. Fred Morganroth Dr. & Mrs. Ka rl Schroeder Wiltshire MEMBERSHIP Mrs. Katherine Cox Mrs. Joyce Ann Kelley Mr. Michael J. Morrison Mr. & Mrs. Gregory J. Mr. & Mrs. Eric Winter DONORS Mr. & Mrs. George Joyce U rba & David Kinsella Mr. Ronald Morrison Scbwartz Mr. & Mrs. Lawrence E. luminary $500 - $999 Dambach Mr. & Mrs. Gerald Knecbtel Mr. William A. Morrow Mr. Joseph Schwartz Witkowski Mrs. Maryan F. Abramson Mr. Samuel 1. Davis

M ETAL RE STORATION Dent and scratch removal Re-attachment Sterling, brass, copper, bronze, and plate

Ben Wearley, silversmitb. (248) 549-3016 Wearley Studio Gallery 1719 West Fourteen Mile Road Royal Oak (East of Woodward Ave ., at Crooks Rd., next to t1J e sw corner)

Open Tuesday through Saturday

IIIIlVO 51 Dr. & Mrs. Anthony Mr. & Mrs. Hugh G. De Luca Harn ess Dr. John Di Musto Dr. Charles F. Hartley Mr. & Mrs. Lawrence H. Mr. & Mrs. Bruce Herbert Michigan's oldest law firm Dickelmann, Jr. Judith & Eric Hespenheide Mr. & Mrs. Harry M. Dreffs Dr. & Mrs. Leon Hochman Mr. George P. Duensing Louise Mr. & Mrs. Paul E. Dufault Ms. Elizabeth Ingraham is proud to support Mr. & Mrs. William A. Alan & Eleanor Israel Dunning Mr. & Mrs. Richard J eryan Mr. Oren Duvall Mrs. Olli e Johnson Mr. & Mrs. Charles & Mr. Walter Kane Julia Elias Mr. & Mrs. Charles E. Michigan Opera Theatre Dr. & Mrs. Richard F. Elton Keller Dr. & Mrs. Myron Emerick Dr. Annetta R. Kelly Mr. & Mrs. Francis A. Mr. & Mrs. Donald A. Englehart Knapp Mr. & Mrs. Robert B. Selma and Phyllis Korn Fair, Jr. Mr. James F. Korzenowski Mr. Albert Febbo Ms. Donna Kountoupes MILLER Mrs. Shirley M. Flanagan Mr. & Mrs. Michael Mr. & Mrs. Burke & Kratchman CANFIELD Carol Fossee Mr. & Mrs. Karl A. Kreft MILLER, CANFIELD. PADOOCKAND STONE, p.Le Mr. & Mrs. John Frank Ms. Rosemary Kurr Dr. & Mrs. William R. Mr. & Mrs. James Fulgenzi Kuykendall 150 West Jefferson Avenue Dr. & Mrs. Byron P. Mr. Chak Lai Suite 2500 Georgeson Dr. Glendon M. Gardner Mrs. Maryanne Gibson & Leslie Landau Detroit, Michigan 48226-4415 Mr. Hugh Gill Mr. Lee E. Landes Mr. Larry Glowczewski Mr. & Mrs. Richard M. 313/963-6420 Dr. & Mrs. Alegro J. Godley Larson Mr. & Mrs. Jonathan Green Mr. Philip Leon http://www.millercanfield.com Mr. & Mrs. Raymond Mr. & Mrs. Michael Greenspan Leonard Ms. Mary K. Grimes Ms. Elaine Lovitt Providing legal services since 1852 Mrs. Claire L. Grosberg Dr. & Mrs. Robert Lucas Mr. Randolph Gryebet Mr. Frank Lucido Mr. & Mrs. Joseph Gualtieri Mr. & Mrs. William O. Mr. & Mrs. David A. Lynch Michigan Florida New York Washington, D.C. Poland Gugala Dr. & Mrs. Robert E. Mack Mr. & Mrs. Philip Haddad Cardinal Adam J. Maida

Many people and their families are comforted by the knowledge that preparations for interment in White Chapel have been made in advance. Should you wish to make such plans, a com~etent White Chapel sta member wzll be p eased to assist you. Please call 362-7670.

Copyright 2010, Michigan Opera Theatre 52 Oruvo I MOT CONTRIBUTORS ,- Mr. John A. Malasky Mrs. Paula Tucker Mrs. Harriet V. Bray Judge Sharon Tevis Finch Mr. & Mrs. Joseph Ms. Marleen C. Tulas Jean Carnahan & Mr. Ron Fischer Frank Bredell J obn Waidley & ·..z.X·:x·.x.X. Maniscalco Mrs. Alice Tumidanski .. I. Elaine & Mervyn Manning Drs. June & Sheldon Turley Dr. & Mrs. Sander J. Susan Fisher Mr. Maurice 1. Marshall Mr. & Mrs. William Breiner Mr. & Mrs. James E. Fisk Mr. Timothy Mayer Twiddy Mr. & Mrs. Herman Ms. Deborah Fleming Mr. Paul W. Mc Curdy Mr. & Mrs. John Brodsky Dr. & Mrs. Herman Foon Ms. Katherine McCullough Van Brandeghen Mrs. Pearl Brodsky Mr. & Mrs. Harry S. Ford,Jr. Ms. Patricia McKanna Dr. & Mrs. Ronald L Ms. Joann F. Brooks Mr. & Mrs. Anthony C. "In Mr. & Mrs. Patrick Vander Molen Ms. Margery E. Brooks Fortunski , McKeever Ms. Ann Kirk Warren Ms. Mary J 0 Brough Ms. Doris R. Foster Dr. Max T. McKinney Dr. & Mrs. William]. Mr. & Mrs. Gregory 1. Madeline & Norman Mr. Leonard Miller Westcott Brownrigg Foster Ms. Kathleen Bublitz Ms. Phyllis Foster B0./ca Mr. & Mrs. Ralph Miller Mr. & Mrs. Robert Mr. & Mrs. Stanley Millman Whitman Dr. & Mrs. Gerald Burke Mr. Kenneth H. Fox \ Mr. & Mrs. Jeffrey H. Miro Mr. ]. Ernest Wilde David and Gail Burnett Ms. Josephine E. Franz Mr. & Mrs. Glen and Mrs. Amy Willens Ms. Mary Alice Busch Mr. & Mrs. Rolf Freter Carmel Mitchell Dr. & Mrs. George A. Mr. Alex Bylici Dr. Yvonne Friday L Dr. & Mrs. Eliezer Monge Williams Ms. Mary C. Caggegi Mr. & Mrs. Eugene S. Mr. & Mrs. Richard Ms. Hildegard Wintergerst Mr. & Mrs. George Callas Friedman • Mueller Mr. Andrew Wise Mr. Benjamin Callaway Mr. Bruce F uester Mr. & Mrs. Adolph]. Mr. & Mrs. T. Wallace Dr. & Mrs. Thomas E. Mrs. Lila Fularski Neeme Wrathall Carson Ms. Mary Ann Fulton L .L f" Mr. Robert A. Nitschke Mr. & Mrs. Gregory]. Mr. & Mrs. Everett R. Mr. & Mrs. Gary G. Mrs. Stanley Nowakowski Wronkowicz Casey Galunas UPfJ. Dr. Eugene Oliveri Mr. & Mrs. David Dr. James A. Catto George and Reida Mr. & Mrs. Daniel H. Zimmerman Mr. Alfred Cheeseborough Gardiner Olson Mr. Dave Zmyslowski Mrs. Maria M. Chirco Dr. & Mrs. Herb Gardner • Ms. Corinne Opiteck Mr. & Mrs. Donald H. Ms. Dorothy Gee Mrs. Eva Otto Supporter $250 - $499 Chmura Dr. & Mrs. James W. Gell Lakeshore Professional Gerald Padilla & Mr. & Mrs. Felix T. Adams Mr. & Mrs. Reginald Mrs. Aaron H. Gershenson Linda Orlans Mr. & Mrs. William G. Ciokajlo Mr. Michael Gerstenberger Voice Center Ms. V. Beve rly Payne Adlhoch Mr. & Mrs. Thomas E. Mr. & Mrs. William N. Mrs. S0'hhie Pearlstein Mr. & Mrs. Richard Clagett Gilmore providing comprehensive , Mr. Mic ael W. Pease Alder, Jr. Mrs. Emily K. Clapp Ms. Anne Ginn Mr. & Mrs. John Perentesis Mrs. Suzanne Alfastsen Mr. & Mrs. Robert Closson Ms. Patricia Godell evoluotion ond Mark & Kyle Peterson Mr. Madison Alford, Jr. Mr. & Mrs. Jack Cochran Mrs. Marion K. Goetz Dr. Luba Petrllsha Mr. & Mrs. Richard 1. Dr. & Mrs. Alberto Cohen Dr. & Mrs. Paul Goodman treotment of voice Dr. & Mrs. Kenneth E. Alonzo Ms. Linda Cohen Mr. & Mrs. E. Thomas , Pitts Ms. Marjorie Alpern Mr. Michael Coleman Gorcyca ond speech problems Mr. Abraham 1. Raimi Mr. & Mrs. Raymond P Mr. & Mrs. James Collier Mr. & Mrs. William R. Ms. Nancy 1. Rajala Amelotte Dr. & Mrs. Jam es M. . Go udie I for those in the legol, Mr. & Mrs. Donald H. Mr. & Mrs. David]. Colville Mr. Nick Grad Regan Anderson Mr. & Mrs. Douglas Mrs. Shirley Gray heolth, performing orts Dr. Randall Reher Dr. & Mrs. Joel Appel Cornelsen Ms. Gloria D. Green Mr. & Mrs. Lloyd Reuss Mr. & Mrs. Chester Arnold Mrs. Lois Courville Mr. & Mrs. James A. ond brood cast professions. ; Mr. Robert 1. Rewey, Jr. Dr. & Mrs. Ingida Asfaw Dr. Warren W. Cowan Green Mr. Dale Robertson Mr. & Mrs·. John A. Ashton Mr. Jam es E. Crankshaw Ms. Lois R. Greene Mr. & Mrs. Horace]. Mrs. Geraldine Atkinson Mrs. Rosa Mary Crawford Mr. & Mrs. Harold A. Our stoff includes experts Rodgers Ms. Sally August Mrs. Sharon Crawford Grossman Dr. & Mrs. David B. Ms. Marisa Bahn Mr. & Mrs. Douglas E. Mr. & Mrs. Charles D. in Voice, Speech, Rorabacher Mrs. Doris I Bailo Cutler Groves Mr. & Mrs. Norman H. Mr. & Mrs. Stephen M. Mr. Jeffrey S. Cutter Mr. Ernest Gutierrez Longuoge Theropy, Rosenfeld Bakonyi Mr. & Mrs. James Dr. & Mrs. Henry Ms. Lindsay Roth Mr. & Mrs. Eugene Balda D'Alessandro Hagenstein Audiology, Mr. & Mrs. David]. Ms. Patricia Ball Mr. & Mrs. John]. Mr. Nizami HaJim Runyon Meredith WestonBand & Daly, III Ms. Jayme Hamilton Otoloryngology, Mr. & Mrs. John Sagan J effer Band, MD Mr. & Mrs. Norman Dancy Dr. & Mrs. Karl Hanyi Dr. & Mrs. William H. Mrs. Jack Beckwith Mr. & Mrs. Keith D. Dr. & Mrs. Natan HarPaz Broodcosting ond Salot Mr. Dean Bedford, Jr. Danielson Dr. & Mrs. John M. Mr. Lee Saperstein Mr. & Mrs. Raymond Mrs. Zenia S. Danysh Hartzell Mark G. and Karen 1. Benner Mr. & Mrs. Richard Mr. & Mrs. Stephen R. the Performing Arts. Schroeder Hon. & Mrs. Robert D. DeBear Harvath Mr. William E. Scollard Bennett Mrs. Mary DeTomaso Ms. Barbara Ha rvell Mr. Roger M. Sherwood Dr. & Mrs. Ronald Benson Mr. Joe Del Giudice Ms. Joann Hatton Mr. & Mrs. James Smith Mr. & Mrs. Robert Jay Lougheed & Mr. & Mrs. Murray Mrs. ].P Snyder Benton,]r. Fanny Delacruz Hauptman ~ Mr. & Mrs. Newton Sobel Mr. Edward Berne Mr. Edward J. Delahanty Mrs. Diane D. Hauser Mr. & Mrs. Nathan D. M.r. & Mrs. Yale Bernstein Mr. Samuel Deutch Ms. Anne H. Helfman P R ok2t~~11Qre Soberman Roland & Phyllis Bessette Mr. & Mrs. Fred Deutsch Mr. & Mrs. Charles 1. Rosa Ernstein & Mr. Francis Bialy Mr. John R. DiLodovico Henritzy The One Clear Voice in David Sonnenschein Mr. & Mrs. David Bilson Mr. James P Diamond Dr. & Mrs. Michael Mr. & Mrs. Jerome T. Mrs. Norman Bird Mr. John Dodds Hepner Effective Communication Spencer Rose & John Bjorklund Mr. & Mrs. Harold Mr. Norman Herbert Mr. A. Stahl Mr. & Mrs. Saul Blackman Doremus Dr. & Mrs. Martin M. 21000 12 Mile Road, Mr. William Stefani Lee & Paul Blizman Dr. Jack DuBois Herman , Mrs. Carolyn Stubbs Mr. & Mrs. Edward Mr. & Mrs. Max M. Mr. Michael Hermanoff Suite 111, St. Clair Shores, Dr. & Mrs. Komol Boccomino Dubrinsky Mr. & Mrs. Roger MI 48081 Surakomol Dr. & Mrs. Jason H. Dr. & Mrs. Harold Duchan HerrinJ\ton Mr. & Mrs. Padraic Sweeny Bodzin Mr. Vincent Duff Mrs. Phy .s S. Hill (in the St. John Surgery Center) Mrs. Burt E. Taylor Mr. & Mrs. Alvin E. Bohms Ms. Patricia A. Dut·ella Mr. Richard Hill Mrs. Kathryn Taylor Mr. & Mrs. John Boll Mr. & Mrs. John D. Durno Mr. & Mrs. Heinz Mr. & Mrs. Thomas Mrs. Gertrude D. Bonk Mr. & Mrs. Peter P Hintzen 810-779-7610 Thewes Ms. Beverly E. Booker Dusina, Jr. Dr. & Mrs. James Mr. John P Tierney Mr. & Mrs. A.]. Boone Mr. & Mrs. Richard S. Hoeschele Extension 9600 Mrs. Dorothy Alice Tomei Mr. & Mrs. Robert Edgar Dr. Jean Holland Mr. & Mrs. James]. Borcherts Ms. Ingrid Brit Eidnes Mr. Robert M. Holland " Trebilcott Mrs. Marilyn Bowerman Hon. & Mrs. S. rE lden Mr. Sidney Holmes Ms. Susan Trottier Mrs. Marguerite Boyle Mr. & Mrs. Pau Ensign Mr. Rex Holton '.y.y+x.X+I.r Mr. & Mrs. Victor Mr. Michael Boyle CopyrightDr. Raina N.2010, Ernstoff Michigan Ms. DonnaOpera Holycross Theatre Troutman Mrs. Juanita Brabeau Dr. & Mrs. Irving Feller Mr. & Mrs. Jan Homan

~ 14 1 VII 53 - Mr. & Mrs. Jan Homan Mr. & Mrs. Phillip Mrs. Christine Hope McKenna Mr. & Mrs. William C. Mr. & Mrs. David Hufford McLellan Mr. William L. Hughes Mr. Wayne R. Melchior Mr. William Hulsker Ms. Lynne M. Metry Mr. & Mrs. Jacob Hurwitz Richard & Rosalind Dr. Kyu]. Hwang Meyer Mr. & Mrs. Mario Dr. & Mrs. Anthony B. Iacobelli Michaels Mr. Michael Iannuzzi Ms. Helen Millen Mr. & Mrs. Martin M. Dr. & Mrs. Ronald Miller Inglis Mr. & Mrs. Sleven R. Mr. Andrew J ackiw Miller Mrs. David Jacknow Mr. & Mrs. Phillip Minch Ms. Elsa Jakob Mr. & Mrs. Frank Mr. & Mrs. Richard ]. Mitchell Jessup Hon. Marion Moore Dr. & Mrs. Artbur]. Mrs. Coleman Mopper Johnson Erivan R. Morales & Dr. & Mrs. Artbur L. Seigo NaKao Johnson Ms. Theresa Morel and Mr. Samuel C. Johnson Mr. Alan Morgan Ms. Rosemary Joliat Mr. Ken Moriarty Mr. & Mrs. Mark L. Kabn Mr. & Mrs. Germano L. Carolyn Silkwortb & Mularoni Robert D. Kallay, Jr Mr. Richard K. 108903 Mulvey, Ph.D Mr. Steve Katsakis Mr. Donald A. Naftel Mr. Patrick Keough Mr. James A. Neelands Mr. John Keros Caroline Beauvais & Ms. Ida King William Newman Mary & Kennetb King Mrs. Barbara Nickles Mr. Edward Kingins Mr. & Mrs. Donald Mr. & Mrs. Thomas N. Nitzkin Klimko Mr. John F. Noonan Mr. & Mrs. Walter O. Mr. & Mrs. Richard L. Koch Norling ZJl...... ?~ ... author of mallY books atld video's Oil the M.A. concepts alld perso"al excellence strategy. As seen 011 Fox 50, CNN, HeadUlle News. CNN hIt. Heard all wxn Mark Scott Show, alld WJR. ].P. McCarthy Program ... Mr. Robert]. Koffron Mr. & Mrs. Peter Nunez Mr. & Mrs. John Konik Ms. Dolores Oakley Mr. & Mrs. Joel Kroon Dr. Marilyn Oberst Miss Gene M. Kyle Mr. & Mrs. Theodore Mr. Brian La Forest Oelkers Mr. Henry ]. La Motte Mr. & Mrs. Henry Oh CHUCK RANDOLPH TRAVEL & TOURS Mr. & Mrs. Ronald C. Dr. & Mrs. Jesus Onega Lamparter Ms. Catberine INVITES YOU TO JOIN OTHER OPERA BUFFS Mr. Joseph Lapides Osenkowski Mr. & Mrs. Robert E. Mr. & Mrs. Stan R. ON THEIR UPCOMING Lazzerin, Jr. Ovshinsky Mr. David Leader Mr. Dale J. Pangonis Ms. Barbara Leeper Dr. Barbara Papania Mr. & Mrs. Gary Leigh Mrs. Anoush Papelian Mr. & Mrs. Timotby P. Ms. Margot Parker ITALIAN OPERA TOUR Lentz Mr. Duane Pavey Mr. & Mrs. Lance Mr. & Mrs. William H. MILAN • VENICE • VERONA Leonelli Peck Mr. & Mrs. Robert I. Mrs. Mary A. Perna Lesser ' Mr. & Mrs. Eduardo M. Mr. Kenneth Levin Perou - JULY 15-25, 1999 - Mr. & Mrs. John D. Lewis Mrs. Joan Petitpren Dr. & Mrs. John H. Miss Alma M. Petrini Libcke Mr. & Mrs. Phillip MANON • BARBER OF SEVILLE Mr. Irving Lichtman Pharmer Carol & Ray Litt Richard and Meryl Mrs. Irmgard Luelsdorf Place Fund AiDA • NABUCCO • TaSCA Mrs. Rutb MacRae Mr. & Mrs. Maurice Mr. & Mrs. James J. Pogoda Madden, Jr. Mr. & Mrs. Edward L. Ms. Suzanne Maldaver Pokornowski + TAX PER PERSON Mr. & Mrs. George Ms. Stephanie Polny ONLY $3,999 DOUBLE O CCUPANCY Mallos Mr. & Mrs. Robert S. Ms. Pamela K. Manela Powell Mr. Keith R. Marchiando Ms. Kerry Price Ms. Dolores Markowski Mrs. Barhara Quinn Mrs. John Marshall Mr. & Mrs. Jeff Raben Mr. John Marshall, III Dr. & Mrs. A. I. Ragins Mr. Charles S. Mason Dr. Bobbi Ramp Mr. & Mrs. John L. Mayer Mr. & Mrs. Jack C. & Ms. Elizabetb Maysa Jeanne Ransome Ms. Mary C. Mazure Mrs. Susan D. Reames Mrs. Janet G. McCarthy Mr. & Mrs. John W. Bloomfield Hills, Michigan 48301 Mr. Michael McCartby Reddy Copyright 2010, Michigan Opera TheatreMs. Vivien McDonald Dr. Melvin L. Reed Mrs. Mary McKay Mr. Dennis C. Regan 54 OfUVO MOT CONTRIBUTORS

Mr. & Mrs. Henry C. Mr. Stephen M. Mr. Thomas D. In Honor of Dr. Donald Benefactor Mrs. Virginia June Reimer Stackpole Whinemore Austin's Birthday $5,000 to $9,999 LeBlanc Mr. & Mrs. Walter Mrs. Judith Stefani Mr. Richard G. Wilkes Dotti and Dick Doerer Mr. & Mrs. Eino Nunne Ms. Kathryn Leftwich Reister Dr. Mildred Ponder Mr. George V. Williams Dr. and Mrs. Charles Mr. & Mrs. Irving Rose Suzanne Leich Mrs. Verena Rhame Stennis Mr. & Mrs. Halton Kessler Dr. David]. Mr. & Mrs. John]. Dr. & Mrs. Sheldon Williams Audrey and Irving Rose Sustainer Lieberman Riccardo Stern Mr. Lawrence Williams Mrs. Beryle Winkelman $2,500 TO $4,999 Ms. Karen E. Long Mrs. Estelle G. Rice Dr. & Mrs. Choichi Dr. Magnus A. Wilson Mr. & Mrs. John Boll Ms. Verna Love Mr. Joel Roberts Sugawa Mr. & Mrs. Roy In Honor of Shelly Mr. & Mrs. Tarik Daoud Mr. Glenn D. Maxwell Mr. & Mrs. George Dr. & Mrs. David Susser Wilson, Sr. Cooper Mr. & Mrs. Lawrence Ms. Anna Meyendorff Robinson Robert & Mary Mr. Thomas Wilson Maida Portnoy N.David Mr. Elliot Milstein Mr. & Mrs. Peter J. Margaret Sweeten Mr. & Mrs. Thomas H. Herman and Barbara Sally & James Muir Roddy Dr. Jonathan Swift Wisniewski In Honor of Barbara Frankel Ms. Ursula Mr. James E. Rodgers Mr. Thomas Tapert Mrs. Shirley Wold Frankel's Birthday Joyce Urba and David Obses-Misangyi Drs. David and Miss Mary Ellen Tappan Dr. Ruth A. Ms. Laurie Frankel Kinsella Ms. Corinne & Mrs. Sheila Ronis Mrs. Ferah Tarockoff Worthington Family of Mark Frankel Mr. Harry A. Opiteck Lomason Ms. Joanne B. Rooney Mr. Thomas Tasky Ms. Gunvor Wrathell Mr. Bert G. Mr. & Mrs. Jacques A. Dr. & Mrs. Jerry Judge Clifford W. Taylor Mr. & Mrs. Francis A. In Honor of Dr. David Osterberg C. Nasser Rosenberg Ms. Mary Teachout Yezbick DiChiera Dr. Melvin L. Reed Dr. Margaret Ryan Mr. Aaron R Ross Mr. & Mrs. Frank Mr. & Mrs. Walter W. & Mr. and Mrs. Dennis Golden Patron Sherri's, Inc. Dr. & Mrs. Alexander Tenkel Marie Zelasko McGee $1,000 TO $1,499 Mr. James Shirley Rota Mr. & Mrs. Thomas Mr. & Mrs. Robert E. Ms. Joy Squire Michael & Dorothy Terrell TRI BUTE FUND In Honor of MOT Dewar Izumi Suzuki Ro thgery Mr. Jack W. Theisen FROM Ann T. Hansen Mr. Kevin S. Dennis & Mrs. Maria Runk Ms. Janet L. Therrian JU LY 1, 199B TO John F. Kelly Jeremy Zeltzer Mary Margaret & Mr. Robert E. Run Mr. Robert P. DECEM BER 30, 1998 Vera Mannhardt Louise Robert Sweeten Ms. Joanne Mary Ruzza Thibodeau In Memory of R Mr. and Mrs. Abraham Mr & Mrs. Lawrence Ms. BillieJo Wanink Mr. & Mrs. Marvin Mrs. Norman Thorpe Jamison Williams Pasternak Jackies Mrs. Paul Zuckerman Rysztak Mr. & Mrs. Donald M. D. Roger Birk Jane Sadikowski Mr. & Mrs. C. E. Mr. Edward L. Thurber Howard S. Christie, Jr. Letts, Jr. Sambuchi Alice & Paul Mrs. Mary Earle MISCELLANEOUS Ms. Jane McLaren Michigan Opera Theatre Mr. K. Sanagi Tomboulian Mr. and Mrs. Steve IN-K IND GIF{S is deeply grateful for the Mr. & Mrs. John W Mr. & Mrs. Michael Gasper,]r. Walbridge Aldinger Patron support of the fo ll owing Sanders Torakis Mr. and Mrs. Armand Brunschwig & Fils $500 TO $999 individuals who have Mr. & Mrs. Alvin Mr. Emmet E. Tracy Gebert Michelle Conklin Consumer One helped sponsor dance. Saperstein Mr. & Mrs. Robert & Bettina C. Hagen Crooked Tree Arts Financial Mr: & Mrs. George E. Angeline Trinka Mr. and Mrs. Henry Council -Petoskey William and Barbara Mr. & Mrs. Robert A. Saunders Mr. & Mrs. L.W Tucker Keller Detroit Athletic Club Eversman Allesee, Performance Dr. Karen L. Saxton Mr. Joseph Turinsky Timothy Leuliette Detroit Institue of Arts Mr. David Sponsor of Dracula Mrs. Claus F. Schaefer Mr. & Mrs. John E. Mr. John F. Mills Ford Motor Company Hempstead (1997/98) and M" & Mrs. John Urley Friends at NBD Bank General Motors Mr. & Mrs. David B. Performance Schmidt Mr. & Mrs. Vural Uygur Mr. and Mrs. Charles Corporation Herm elin Co-Sponsor Hammel Music Dr. & Mrs. Ronald Ms. Theresa Vaitkunas Parkhill Drs. Orlando and of Giselle (1997/98) Hampton Inn- Schrnier Mr. & Mrs. Elliott H. Mr. and Mrs. Oscar Dorothy Miller Stephensville Mr. Laurence S. Schultz Valentine Powell Keith & Christine Mr. & Mrs. Maurice R]. Hannan -Crawford Mr. & Mrs. Michael Mr. Marvin Van Heest Weber Cohen, Production Mr. and Mrs. Jack Au Sable Schools Schwartz Mr. & Mrs. Kelvyn . Mr. Milton Y. Sponsor of Robinson Holiday Inn-Alpena Drs. Heinz & Alice Platt Ventour Zussman Frances Schirmer Ed\vio Lee Morrell The Sleeping Schwarz Mr. Richard D. Ventura Mr. and Mrs. Donald Opus One Beauty (1992/93), Dr. & Mrs. M. U. Scott Mrs. Doris Waddell Co rps De Ball et Schwendemann The Penna Family Cinderella (1993/94) Mr. & Mrs. Kingsley Mr. & Mrs. Edward and Mr. and Mrs. Alan $499 and below and Swan Lake Polite America Dr. & Mrs. Roger M. Sears Shari Waffle Schwartz Shannon Terry (1995/95) Ms. Jeanne Serruys Mrs. Mary Joyce Waite Mr. and Mrs. Gregory Ajluni Villa Penna Dr. & Mrs. Agustin Dr. & Mrs. Howard S. Mr. Howard H. Schwartz Mr. & Mrs. Tarik Arbul u Shapiro Waldrop Mr. and Mrs. Lynn Daoud, AFTERGLOW Ms. Sylvia Becherer Ms. Ellen Sharp Mr. Robert D. Wallin Performance Townsend SPONSORS Mr. Robert Berg Dr. John E. Sheard Mr. & Mrs. Robert C. Sponsor of Mrs. Beryl Winkelman Mr. & Mrs. Gary L. Ms. Elaine Brown Ms. Marguerite R Walter Dracula (1997/98) Wasserman Mr. William A. Bubniak Shearer Mr. & Mrs. Jonathan T. In Memory of Edward Michigan National Bank Mr. David Chi vas Ms. Anne S Sherwood Walton Mourarue Ms. Bonita Coleman Mr. David Handleman, Dr. Anthony Shields Miss Evelyn A. Warren by Mr. and Mrs. Mr. M.W. Eisen Performance Mr. & Mrs. Neal Shine Mrs. Kathryn N. Warren Robert Forbes DANCE PATRON Mr. Alan DeWolf Sponsor of Mr. Jack D. Shumate Mr. & Mrs. Cyrus H. CIRCLE DONORS Mr. & Mrs. Edward Doll Giselle (1997/98) Lewis & Beverly Siegel Warshaw The Maria Roumell Michigan Opera Mrs. Patricia A. Dresch Ms. Heather Sievers Mr. & Mrs. Paul F. Trihute Fund Theatre gratefully Mr. & Mrs. Frank]. Mr. & Mrs. Irving Rose, Mr. & Mrs. William Wasielewski Helen Perentesis acknowledges Eichenlaub, III Performance Sikora Mr. & Mrs. Neil H. the generous Mrs. Charles M. Co-sponso r Mr. & Mrs. Peter Silveri Wasserman In Memory of Peter contributions that Endicott of Giselle (1997/98) Mrs. Helen T. Slater Mr. & Mrs. Cameron Warburton were made between Ms. Wendy Fang Dr. Robert F. Sly Waterman by The Lomason July 1, 1997 and Rev. & Mrs. John B. Pearl A. & George M. Mr. Tom Smith Ms. Georgianna Watsell Family June 30, 1998 Forsyth Zeltzer, Performance Mrs. Alma]. Snider Mr. & Mrs. Keith & Mrs. John C. Griffin Sponsor of Swan Lake Dr. Daniel Snower Christine Weber In Memory of Chorus Signal Benefactor Mr. Randolph Gryebet (1996/97) and Giselle Mr. Rodolfo Son Mr. Herman W. Member Ernest $50,000 and above Ms. Mary Hanson (1997/98) Frank & Susan Sonye Weinreich Willoughby Chrysler Corporation Mr. and Mrs. Eugene Dr. & Mrs. Yoram Miss Lenore Weiss Mr. and Mrs. Arthur Hartwig Sorokin Mr. & Mrs. Seymour Badger Major Benefactor Miss Mary A. Hester Renate Soulen Weissman Hide & Gregory $25,000 to $49,999 Wendy L. Huben Ms. Anna M. Speck Mr. & Mrs. Paul S. Maroncik Mr. & Mrs. Robert A. Ms. Eleen A. Johnson Ms. Nadine Sperry Wemhoff Dr. and Mrs. Allesee Ms. Theresa Joswick Mr. Theodore]. Mr. & Mrs. John F. Arno Schury Mr. & Mrs. George M. Ms. Jean Kegler S1. Antoine Werner Ernest Willoughby Zeltzer Mr. Semon E. Mr. David Handleman Copyright 2010, Michigan Opera Theatre Knudsen

IJI11VIl 55 DETROIT OPERA HOUSE

rmation

PHOTOGRAPHY AND RECORDING DEVICES Unauthorized basis. Please see an usher or Ticket Office representative to cameras and recording devices are not allowed inside the request this service. Although this is a complimentary service, theater at any time. The taking of photographs of the theater or we will request to hold a piece of personal identification any performance is strictly prohibited. As a courtesy to our while you are using the device. If you desire other special guests, we ask that all paging devices and alarm watches be consideration please inform the ticket office when purchasing switched to a silent mode prior to the start of a performance. your ticket. IN CASE OF EMERGENCY Doctors and parents are advised CHILDREN Children are welcome, however, all guests are to leave their seat location (located on ticket) and our required to hold a ticket, regardless of age. We kindly ask that emergency number, 313/237 -3257, with the service or sitter parental discretion be exercised for certain programs, and in case of an emergency. Please observe the lighted exit signs that all guests remember that during a program such as opera located throughout the theater. In the event of fire or similar or ballet, the ability of all audience members to hear the music emergency, please remain calm and walk - do not run - to the is a prerequisite to enjoyment of the performance. In all cases, nearest exit. Our ushers are trained to lead you out of the babes in arms are not permitted. building safely. A trained Emergency Medical Technician SERVICES Concession stands are located on all levels. Please (EMT) is on site during all events. Please see an usher or staff note: Food and drinks are not allowed in the auditorium at member to contact the EMT. any time. Coat Check is located in the Madison lobby. The cost RESTROOMS Ladies' restrooms are located off the Ford is $1.00 per coat. Please note that Detroit Opera House does Lobby (Broadway side), down the stairs and also on the not accept responsibility for any personal articles that are not third floor (Madison side). Please press 3R on the elevator. checked at the Coat Check. Drinking fountains are located in Gentlemen's restrooms are located under the Grand Theatre the lobbies on floors 1 and 3. Public pay phones are located in staircase, down the stairs and also on the third floor (Broadway the vestibule of the Ford Lobby and in the restrooms. Patrons side) . Please press 3 on the elevator. Please note: All third floor in wheelchairs can access pay phones through the Broadway restrooms are wheelchair accessible. storm lobby.

NO SMOKING Detroit Opera House is a smoke-free facility. FOR YOUR INFORMATION Detroit Opera House is Ash receptacles are provided on the exterior of all entry doors available for rent by your organization. Please call Brett for those who wish to smoke. Batterson, DOH Manager, at 313/ 961-3500 to receive rental information. Tours are available for individuals at USHERS Ushers are stationed at the top of each aisle. If you predetermined times throughout the year and for groups by have a question or concern, please inform an usher, and they appointment. Please call 313 /961 -3500 to inquire about our will contact management. If you are interested in becoming a tour schedules and prices. volunteer usher, please call the usher hotline at 313 /237-3253. TICKET INFORMATION Detroit Opera House Ticket Office LATE SEATING POLICY Latecomers will be seated only hours are: Non-performance weeks: Monday through Friday, during an appropriate pause in the program, and will be 10:00 a.m. to 5:30 p.m.Performance days: 10:00 a.m. through asked to view the program on closed-circuit television the first intermission of the evening's performance, except monitors located in the lobbies until an appropriate program Saturdays and Sundays when the Ticket Office will open two pause occurs. Late seating policy is at the discretion of the pro hours prior to curtain. Tickets for all public events held at duction, not opera house management. Detroit Opera House are also available through all LOST AND FOUND Lost and Found is located in the Security TicketMaster phone and retail outlets. Department. Please see an usher if you have misplaced an arti IMPORTANT NUMBERS cle, or call 313/961 -3500 if you have already left the theater. EMERGENCIES: ...... :...... 313/237-3257 Items will be held in Lost and Found for thirty days. Detroit Opera House PARKING Parking is available for all events in the Opera General Information: ...... 313/961-3500 House Parking Lot and the Opera House Garage, located Lost & Found: ...... 313/961-3500 directly across John R. from Detroit Opera House on Ticket Office: ...... 313/237-SING Broadway. Pre-paid parking is available through the box office. Usher Hotline: ...... 313 /23 7 -3253 Please call 248/645-6666 for parking information. Theater Rental Information: ...... 313/961-3500 Michigan Opera Theatre: ...... 313/961-3500 ACCESSIBILITY Accessible seating locations for patrons Detroit Opera House Fax: ...... 313/237-3412 in wheelchairs are located in all price ranges on the orchestra Press and Media Relations: ...... 313/237-3416 level. When inquiring about tickets, please ask about these E-Mail address: ...... motopera.org locations if you require special accommodations. Assisted Internet address: ...... http://www.motopera.org Listening Devices are available on a first -come, first -serve Copyright 2010, Michigan Opera Theatre 56 OrtlVO Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre Madame Butterfly Casting Information

Cia-Cia-San SUN XIU WEI (April 17, 21 , 24, May 1) NATALIA DERCHO (April 18m, 23, 25m, May 2)

Supers (Men) HENRY COUCKE STAN GAWEL JOE GORALCZYK ASHTON HOPKINS DAVID KIRSCH JEFF KIRSCH BILL KUPSKY DAVID ODENBACH PAUL PLAMONDON BILL ROSS JONATHAN SCHNEIDER RICHARD SWITZER SEAN THOMAS MIKE TRAPP WILLIAM WILFORD

Supers (Women) CHRISTINE LIM TARINA POUNCY JENNIFER SECORD ROSE MARIE STOLK

Sorrow JILLIAN HOFFMAN ANDREA LEWELLEN (understudy)

Special thanks to D.C.C. for providing eyeware

Copyright 2010, Michigan Opera Theatre Eugene Onegin Additional Cast JEFFREY BLACK, in his MOT debut, will sing the title role May 16,21, and 23 . Born in Brisbane, Australia, he began his career in 1984 when, at the age of 21, he joined the Australian Opera as a principal artist. Two years later he made his European debut as Harlequin iri Ariadne auf Naxos in Monte Carlo and his British debut as Sid in Albert Herring at the Glyndebourne Festival. His repertory also includes Romeo and Juliet, La Boheme, The Magic Flute, The Barber of Seville and Tannhiiuser. Mr. Black has appeared with the Metropolitan Opera, San Francisco Opera, Washington Opera, the Lyric Opera of Chicago, San Diego Opera, the Netherlands Opera, Geneva Opera, and the Bayerische Staatsoper, Munich.

VICTOR BENEDETTI, originally scheduled to sing the title role, withdrew from the production due to illness. We wish him a speedy recovery. PROFILE OF OUR JOYCE H. COHN SCHOLARSHIP WINNER Michigan Opera Theatre Young Artist Apprentice Andrew Foster (Triquet) is the 1998/99 Joyce H. Cohn Scholarship winner. He made his company debut as Arturo and Normano in last fall's Lucia di Lammermoor; he also appeared in this spring's Madame Butterfly. The previous season he sang Beppe in I Pagliacci and Rinuccio in Gianni Schicchi with OPERA!Lenawee. Mr. Foster has appeared with Atlant<} Opera, Savoyards Light Opera, the Repertory Theatre of St. Louis, Opera Maine and ISOMATA in Idyllwild. His repertoire includes The Turn ofthe Screw, Aida, Faust, Norma and II Trovatore.

THE JOYCE H. COHN APPRENTICESHIP AWARD FUND The Joyce H. Cohn Apprenticeship Award Fund was founded in 1991 to provide annual scholarships to MOT's most promising operatic talents. The award is named for the late Joyce Cohn, MOT Founding Board Member, who quietly gave financial assistance to deserving young talent and publically champi oned programs that advanced the careeers of future opera stars.

DANCERS SUPERS WIG CREW MindiBower Austin Andres April Jones-Boyle Lindsey Hanlon Rene Bacon Mary Elizabeth Corbett Andrey Kasatsky Ramsay Coronado Theresa Donnelly Vadim Pijicov Matt Daigler Corinne Fine Rachel Rutland Joe Goralczyk Gretchen Gonzales Janna Sinitsyna Becky Head Violeta Kapayo Oybek Tashpulatov Richard Hill Karlie Louks PeterVolz Jillian Hoffinan Leslie Louks Jeff Kirsch Parker Plague Mary Kurtz Marta S'awczuk Fred Lebowitz Therese Shmina Mary Malaney Ann St. Peter Maddie Merritt Marta Stefaniuk David Piotrowski Robyn Williams Richard Switzer Mandie Woollcott

Special thanks to HAGOPIAN RUGS.

Michigan Opera Theatre archive recordings are engineered by Dan Dene, assisted by Rudy Lauerman. Copyright 2010, Michigan Opera Theatre OUR DELILAH WILL SING AT THE MET Michigan Opera Theatre star Irina Mishura will make her Metropolitan Opera debut in the 2000-2001 season. Once a star of the Moldavian State Opera, Irina was forced to give up her career and flee her homeland when ethnic violence broke out following independence. The suddenly unknown singer landed in Detroit in 1992 and struggled professionally before David DiChiera cast her as Carmen. She caught the attention of the opera world, and became an "overnight" success. Over the last two seasons she has triumphed in San Francisco, Dallas, Vienna, Munich and other Cities throughout North America and Europe. Soon she will sing at the Met. Some opera stories have happy endings.

ADDITIONAL PRODUCTION INFORMATION

BERNARD UZAN (director), General and Artistic Director ofL'Opera de Montreal, brings his cre . ativity and expertise to Detroit for the season's final opera. A native of France, Mr. Uzan staged his first , operas in 1982 with the Lake George Opera and the Opera Company of Philadelphia. The following year he made the first of six visits to MOT. In North America, his productions have graced stages in San Franciscp, Dallas, Calgary, Vancouver, Edmonton, New Orleans and others. Engagements throughout . Europe and South America have included those in Zurich, Monaco, Palermo, Lyon, Marseilles, Mexico City and Buenos Aires.

DEJAN MILADINOVIC, originally scheduled to stage the production, was forced to withdraw due to travel restrictions in Yugoslavia. We look forward to a return engagement by Mr. Miladinovic in the near future.

Guest Artists ofBallet Ilttemational

ERLANDS ZIEMINCH (principal dancer) returned to Ballet Internationale in the 1996-97 season from New York City Ballet where he won critical acclaim as soloist in George Balanchine's Firebird, Diamonds, Concerto Borocco, and Vienna Waltzes. A native of Latvia, Ziemlinch attended the Riga Choreographic Institute and joined the Ballet of the Latvian National Opera. He toured Italy, the USSR, France, Singapore, Malaysia, Sweden, Norway and Egypt before coming to the U.S. in 1990. His clas sical repertoire includes lead roles in Giselle, Swan Lake, Don Quixote, Paquita, Le Corsaire, The Sleeping Beauty and The Nutcracker.

SARA VIALE (principal dancer), a native of Italy, studied at the Accademia della Danse de Princess Grace in Monaco and the Accademia Regionale di Danza Teatro Nuovo Torino. She danced in Italy with T.N.T. and Ater Balletto, and in Switzerland with Zurich Ballet. Ms. Viale is in her seventh season with Ballet Internationale where she has enjoyed. critical acclaim for solos in Carmen, A Thousand and One Nights, The Creation of the World, and The Nutcracker. Ms. Viale is on the faculty of Ballet Internationale.

Melinda Bower, Lindsey Hanlon, Andrey Kasatsky, Vadim Pijicov, Rachel Rutland, Janna Sinitsyna, Oybek Tashpulatav, Peter Valz

Copyright 2010, Michigan Opera Theatre THE JOYCE A. COHN ARTIST APPRENTICESHIP AWARD FUND The Joyce H. Cohn Apprenticeship Award Fund was founded in 1991 to provide annual scholarships to MOT's most promising operatic talents. The award is named for the late Joyce Cohn, MOT Founding Board Member, who quietly gave financial assistance to deserving young talent and publicaUy champi oned programs that advanced the careers of future opera stars. This year's Joyce H. Cohn Scholarship winner is University of Michigan voice student Andrew Foster, who performs the role ofthe Messenger ... in the current production. This season he also appeared as Arturo and Normano in Lucia di Lammermoor, , Goro in Madame Butterfly and Triquet in Eugene Onegin.

Supers Danny Bradley Randy Kulhanek Jennifer Secord Amanda Clampitt Steve La Grassa Jim Slowik Matt Daigler Kim Marsh Sean Thomas Bruce M. Davis David Odenbach Nate Topie Ellen Dickson Paul Plamondon Ted VanDusen Dellashon DiCresce Karla Roberson AI Wisnieski . Ira Harris Bill Ross Patrick Woollcott Frank Kong Jonathan Schneider Julie Yurconis , Chester Kosulinski

Wig Crew April Jones-Boyle Carol Hudson Marta Sawczuk Mary Elizabeth Corbett Violeta Kapayo Therese Shmina Carolyn D' Ambrosio Karlie Louks Deldon Treece Corinne Fine Leslie Louks Lannon Unick Gretchen Gonzales Parker Plague Robyn Williams

Musical preparation by George Darden.

This production is jointly owned by L'Opera de Montreal and Baltimore Opera Company.

Additional costumes provided by Malabar Ltd., Toronto.

Archival recordings engineered by Dan Dene with assistance by Rudy Lauerman.

WARNING: THIS PRODUCTION USES STROBE LIGHTING

Did you register for your classes at Learning @ The Opera House '99 yet? To see the class catalog online, please visit:

http://leamingattheoperahouse.detroit.net

Come discover what you can learn this Summer at the Detroit Opera House.

Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre James Levine, Conductor Michigan Opera Theatre Orchestra ver: 4127/99 1. Roman Carnival Overture, op. 9 BERLIOZ . Voce 'e Notte • Carreras De CURTIS 2. Lamento di Federico from L' arlesiana • Carreras CILEA 10. Dein ist mein ganzes Herzfrom Das Land des Uichelns· Domingo LEHAR 3. 0 Souverain, from Le Cid • Domingo MASSENET 1. Caruso • Pavarotti L. DALLA 4. Recondita armoniafrom Tosca • Pavarotti PUCCINI Arr. Wirn Bohets .5. Musica Proibita· Carreras GASTALDON 12. Bacchanale from Samson and Delila (orchestra) SAINT-SAENS 6. Granada • Pavarotti LARA 13. Improvisio from Andrea Chenier· Carreras GIORDANO 7. No puede ser from La Tabemera del Puerto • Domingo SOROZABAL 14. E1ucevan Ie stelle from Tasca • Domingo PUCCINI 8. Melange de Roman • Carreras, Domingo, Pavarotti Arr. Lalo Schifrin 15. Nessu Dormafrom Turandot· Pavarotti PUCCINI Sous Ie ciel de Paris JEAN DREJAC, HERBERT GIRAUD 16. American Medley • Carreras, Domingo, Pavarotti Arr. Lalo Schifrin Solamente una vez AUGUSTIN LARA Mariafrom West Side Story BERNSTEIN Maria, Marl! E. DICAPUA Tonightfrom West Side Story BERNSTEIN Torero Quiero from El Gato Montes M.PANELLA yWay JACQUES RAVAUD Parlarni d'amore Mariu C. BIXIO MERCERIMANCINI Tu, ca nun chiagne! E.DE URTIS D'HARDELOT Manha de Camaval II BONFA RODGERS & Ti voglio tanto bene E. DE CURTIS HAMMERSTEIN Arr. Rob Mathes Intermission