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DAVID DICHIERA 2013 Kresge Eminent Artist THE KRESGE EMINENT ARTIST AWARD HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PEFORMING OR LITERARY ARTS FOR LIFELONG PROFESSIONAL ACHIEVEMENTS AND CONTRIBUTIONS TO METROPOLITAN ’S CULTURAL COMMUNITY. DAVID DICHIERA IS THE 2013 KRESGE EMINENT ARTIST. THIS MONOGRAPH COMMEMORATES HIS LIFE AND WORK. CONTENTS

3 Foreword 59 The Creation of “” By Rip Rapson By Sue Levytsky President and CEO The Kresge Foundation 63 Other Voices: Tributes 4 Artist’s Statement and Reflections Betty Brooks Joanne Danto Heidi Ewing The Impresario Herman Frankel 8 The Grand Vision of Bill Harris David DiChiera By Sue Levytsky Naomi Long Madgett Nora Moroun 16 Timeline of a Lifetime Vivian R. Pickard Marc Scorca 18 History of Theatre Bernard Uzan to Opera Years: 1961-1971 James G. Vella Music Hall Years: 1972-1983 R. Jamison Williams, Jr. Fisher/Masonic Years: 1985-1995 Mayor Dave Bing Establishing a New : 1990-1995 Governor Rick Snyder The Detroit :1996 Senator “Cyrano”: 2007 Senator Carol Levin Securing the Future By Timothy Paul Lentz, Ph.D. 75 Biography

24 Setting stories to song in MOTown 80 Musical Works

29 Premieres Kresge Arts in Detroit 81 Our Congratulations 37 from Michelle Perron A Constellation of Stars Director, Kresge Arts in Detroit

38 The House Comes to Life: 82 A Note from Richard L. Rogers Facts and Figures President, College for Creative Studies

82 Kresge Arts in Detroit Advisory Council The Composer 41 On “Four Sonnets” 83 About the Award

47 Finding My Timing… 83 Past Eminent Artist Award Winners Opera is an extension of something that By David DiChiera is everywhere in the world – that is, 84 About The Kresge Foundation 51 ’s “Cyranoˮ: A Review 84 The Kresge Foundation Board the combination of music and story. It’s of Trustees really a universal art form. By Anne Midgette 84 Acknowledgements - David DiChiera, 2013 Kresge Eminent Artist The Activist 84 Credits 55 Reinventing an Art Form: Opera for the ‘80s and Beyond The CD of David DiChiera’s “Four Sonnets” may be Conductor Steven Mercurio leads By David DiChiera found inside the back cover of this publication. The Michigan Opera Theatre Chorus and The Rackham in concert during the Gala, 1996. David DiChiera overlooks the lobby prior to the restoration of the Detroit FOREWORD Opera House at the 1994 Opera Ball.

“An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I’ve left the opera house.”

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ould Detroit have without David DiChiera? Thankfully it’s a question we need never ask. Fifty-one years ago he moved to the area and the rest, as you will read in the pages of this book, is his story.

The Kresge Foundation — its trustees and staff — applauds David DiChiera, our 2013 Eminent Artist, for his lifelong devotion to the magic of opera.

He is impresario, the founder of Michigan Opera Theatre and its stunning home, Detroit Opera House. 2013 Kresge Eminent Artist 2013 Kresge

He is composer, crafting the luminous score for “Four Sonnets,” poems by Edna St. Vincent Millay (an original recording is included in this book), DAVID DICHIERA DAVID

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and the highly acclaimed full-length opera, “Cyrano.” 3 He is arts activist, launching the careers of performers of color and mounting productions that reflect the stories of those who live in our community — , Armenians, Poles and others.

Opera has been captivating audiences for some 400 years. Patrons locally, regionally, nationally and internationally cherish David DiChiera for his passion, his creativity and his unrelenting drive toward the future. He is a community treasure.

Rip Rapson President and CEO The Kresge Foundation ARTIST’S STATEMENT

half a century ago I arrived in Michigan as a teacher and composer to help build the school of music at the newly established . But I soon discovered that opera — the art form I so passionately loved — had little presence in this major urban center. So after a decade of producing staged operatic excerpts and touring them to schools and community centers, the time seemed right to find a home in which to establish a permanent professional opera company in Detroit. Of course, there was significant pushback: an opera company in a blue collar town? A home in the core of a city that had recently experienced devastating riots?

But in 1971 we opened the Music Hall as the opera’s Detroit, we established a new initiative called Opera first home and the beginning of an entertainment for a New America, and provided grant-based district. Building bridges into the community was support to companies for the commissioning of new

a primary mission — making sure that the African works that reflected their various constituencies. American community, the majority of Detroit’s Remaining true to that mission to this day, with the population, was represented on the stage. Not only completion of our own Detroit Opera House, we by nurturing artists such as and presented the world premiere of “Margaret Garner,” native Detroiter Maria Ewing, who have gone on to with by and hosted OPERA great international careers, but by producing works America’s national conference, which was devoted 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge that reflected the African American experience. to diversity. There were other ethnic communities whose traditions should also be celebrated. We produced the North I am particularly proud of our work in education. It DAVID DICHIERA DAVID DICHIERA DAVID

| American premieres of “Anoush,” the Armenian was Karen DiChiera’s devotion to the concept that |

4 national opera and the first American performance every child can create and perform — whether they 5 of Polish “The Haunted Castle” and “King live in the inner city of Detroit or in the most remote Roger.” We look forward to presenting an opera on the areas of the Upper Peninsula. The audience of life of Frida Kahlo in the 2014-15 season. The mission tomorrow needs the opportunity to experience and of embracing and reflecting the incredible diversity participate in the arts. As the arts become more and of our community is an ongoing part of the Detroit more marginalized in our schools, the outreach of Opera House mission, because we are all enriched as our cultural institutions becomes ever more essential. we share and experience one another’s culture. Opera is an extension of something that is every- My own music making was set aside, as I strove to where in the world — that is, the combination of make a difference for opera as a national artform. music and story. It’s really a universal art form. I Using my presidency at OPERA America as a bully believe all arts are transformative, in terms of art, pulpit, we established an initiative dedicated to quality of life, as well as quality of community. encouraging opera companies to commission new works. In 1979, my first year as president, only one Over these last 40 years I’ve brought arts that I’m new opera had been premiered in North America. passionate about to our home here (the Detroit Nothing can persuade directors of opera companies Opera House) and to people around the state, like money, so with the establishment of a fund through extensive programs where we go into called Opera for the ’80s and Beyond, a decade of communities. So people can enjoy an art form on new operas emerged. Even with the wealth of these many levels — on a grand stage or in the intimacy operas, it was still very clear that repertoires were of a small community center. It can take many not reflecting the diversity of cities across the formats. It’s all about the same thing – expressing David DiChiera and at a 1988 press conference country. So taking a page from our experience in emotions through the power of music. announcing Pavarotti’s historic Detroit concert debut at . David DiChiera in 1994 surveying the old Capitol Theatre during its transformation into the Detroit Opera House. DR. DICHIERA BUILDS HIS $28 MILLION DREAM HOUSE: THE DETROIT OPERA HOUSE

2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

DAVID DICHIERA DAVID DICHIERA DAVID

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“Here we will sit, and let the sounds of music creep into our ears.” - THE GRAND VISION OF DAVID DICHIERA

BY SUE LEVYTSKY

pring arrives slowly in Detroit. The first hint of a thaw is evident, however, in the office of David DiChiera, general and artistic director of Michigan Opera Theatre, grand duke of the Detroit Opera House and patriarch of the performing arts in Michigan.

Mountains of paczki, traditional community activist, showman, pre-Lenten Polish pastries savored by visionary. Detroit’s Catholics on Shrove Tuesday, balance precariously on every available By any standard, David DiChiera is surface. “Have one, have twenty!” the master juggler in the world of 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge offers DiChiera. Such gestures of contemporary opera, the only founder affection are familiar at MOT’s Grand of two opera companies — the Michigan Circus headquarters in downtown Opera Theatre and Orange County’s DAVID DICHIERA DAVID DICHIERA DAVID

| Detroit, sweet evidence of how much Opera Pacific — and the only general |

8 the impresario is by his fans director in opera to lead three opera 9 and supporters in this most unlikely companies simultaneously. of opera towns. “They all seem to think I need to eat,” says the silver- He is a living legend in the performing haired DiChiera. “What I really need Autographed score from composer arts, known for encouraging African is to sleep.” Sammy Cahn to David DiChiera. American artists in all aspects of opera, for forging collaborations with other opera Not likely, given the 78-year-old DiChiera’s schedule. companies, and for supporting the composition and He has just returned from , where he has productions of new operas that reflect the communities seen a production of the new opera “Anna Nicole,” in which they are performed. — “it’s so much of our time” — and is dealing with last minute casting changes in MOT’s coming His achievements and leadership have been production of “” — “the male lead had to be recognized internationally, culminating in 2010, with replaced.” He’s due to review MOT’s finances with his selection by the National Endowment for the Board Chairman R. “Rick” Jamison Williams Jr., and Arts for its Opera Honors award, the nation’s highest must offer critique of proposed sets for the 2013-14 accolade for lifetime achievement in opera. He has roster of productions. There’s press coverage to received numerous honorary doctorates and been discuss, donors to dine with and, of course, the opera recognized by the mayors of New York, San Francisco, house itself, where he attends every performance. and Detroit, as well as by the govern- ments of France and . There is little time for sleep, as DiChiera’s day invariably expands to include the many jobs In 2013, David DiChiera was named Kresge Eminent that are his job: rainmaker, composer, publicist, Artist by The Kresge Foundation for his achievement The 5-year-old David DiChiera in a precocious display of showmanship, Pennsylvania, 1940. marketer, fundraiser, talent scout, staff psychologist, in bringing opera back to the city, making it accessible to new audiences and creating the Detroit Opera by the time he was 12. His first performances of what was Michigan State University-Oakland in House from an abandoned theater just off Grand were given audience in the charismatic church his 1962 (becoming Oakland University in 1963). The Circus Park. mother attended. “I was considered a little prodigy institution was growing and looking for a musicologist there and it did have a big effect upon me,” says to develop its music and theater departments. “His vision — and what he has done with it — has DiChiera. “Being looked upon as I was in the church, certainly encouraged others to create their own vision, it did help to build a confidence in my own abilities.” DiChiera was intrigued and accepted the chancellor’s and given companies like Ford a reason to make David entered a junior competition in San Diego at offer, becoming a professor and ultimately the a significant investment in Michigan Opera Theatre age 13, played his concerto and earned first prize. chairman of music at Oakland University. “I went and in Detroit,” says Ford Motor Company Fund there and got involved in developing what was called President Jim Vella. “I can’t imagine what the DiChiera won a full scholarship to study piano, the Meadow Brook Theater and the Department of entertainment district in Detroit would look like if composition and musicology at the University of Music and the Meadow Brook Festival,” says DiChiera. not for David DiChiera.” , (UCLA), with the intention of becoming a concert pianist. But Yet the siren call of opera never diminished, and First Notes “there were so many talented pianists DiChiera was soon nursing the idea of establishing David DiChiera was born in 1935 in around, many of them not even an opera company in Detroit. the town of McKeesport, Pa. His performance majors but engineers!” parents, Cosimo and Maria DiChiera, DiChiera says in remembering his Opera wasn’t a stranger to Detroit, having made were Calabrian immigrants who time in the music department. its first appearance at the Old Detroit Opera House settled in the Pittsburgh area in 1920 (1869–1963) at Campus Martius in . to escape the economic devastation in The possibility of a different career The city had played host to the annual tour of the Sicily after World War I. DiChiera’s path presented itself when David , but a full-scale Detroit-based

opera company? That was an entirely new notion. father supported the family working joined UCLA’s opera workshop as in Pittsburgh’s steel mills; his mother a pianist and coach, where the DiChiera began slowly, seeing the potential in an took in laundry to help with bills. collaborative aspects of the operatic education program of the Detroit Grand Opera Roma Riddell, a native, in rehearsal with DiChiera form proved enormously satisfying. for a 1965 Overture to Opera performance of “.ˮ Association called Overture to Opera. (The association McKeesport is a gritty town, a “Being in opera in whatever way, sponsored the Metropolitan Opera’s Detroit visits.) “place to get out of,” according to whether you were singing, whether energy, organizational abilities and charisma, he DiChiera reinvented the program in 1963, focusing 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge another former resident, Michigan you were the pianist or whether you established Michigan Opera Theatre, Michigan’s on the educational aspects the program offered and Opera Theatre board member, Nora were working backstage, you were own professional opera company. (The name was Young David outside his family seeing the possibilities of this new programming in Moroun. Yet DiChiera’s earliest part of something that was such an formally changed from Overture to Opera to home in McKeesport, Pa. terms of audience growth. Programming and musical impressions were made there, exciting adventure of putting a great Michigan Opera Theatre in 1973.) The company DAVID DICHIERA DAVID DICHIERA DAVID

| community education united as marketing tools for | when as a young child he would spend Saturday work together,” says DiChiera. made its first home in Detroit’s Music Hall Theater, 10 the new venture, a practice that would continue a landmark that had been headed for demolition. 11 afternoons creating imaginary theater presentations through DiChiera’s career. “An opera company DiChiera also spearheaded the establishment of the in his bedroom while listening to broadcasts from DiChiera studied composition with noted American should be working in the schools year round,” says Music Hall Center for the Performing Arts in 1973, New York’s Metropolitan Opera. composer while at the university, and DiChiera. “It should be giving opportunities to local becoming its founding and artistic director in addition earned his MA in 1956 with highest honors singers. It should be building audiences, it should be to acting as general and artistic director of MOT. DiChiera would later say he found the broadcasts and election to Phi Beta Kappa. He was awarded all those things.” “thrilling and overwhelming,” sensations that were a Fulbright scholarship to Italy where he was DiChiera’s selection of the Madison Avenue home only reinforced when he attended his first opera, commissioned by the Information It was an approach whose importance was under- for his opera company was questioned by many of “,” on a school outing. It was a seminal Service to compose a sonata for the Festival scored by DiChiera’s wife to be and associate at the city’s most influential arts patrons, given the event for the young man. “That was the beginning,” of Contemporary Music. He concurrently researched Michigan Opera Theatre, Karen VanderKloot, a tremendous exodus of residents into the suburbs recalls DiChiera. “It was something that I couldn’t and contributed a series of articles on 18th-century passionate advocate of arts education. DiChiera during the 1960s. live without in some way or another.” for the world’s leading music and VanderKloot would marry in 1965 and have encyclopedias, including Ricordi’s Enciclopedia della two daughters, Lisa and Christina. But the impresario was passionate in his belief that David’s interest in music and opera would continue Musica, Groves Dictionary of Music and Barenreiter’s “cultural institutions belong in the heart of the city,” to grow after his family moved to California, his Musik in Geschichte und Gegenwart. a conviction shared by his young family, who declared passions further fueled with the donation of an old, the Music Hall their “friend, a warm, second home.” But “there were really three children in our dilapidated upright piano. “It was out in the garage. DiChiera would culminate his studies at UCLA “We felt like ‘Eloise at The Plaza,’ remembers his family,” says DiChiera’s younger daughter, I’d go out there by myself, afraid, but I wanted to with a Ph.D. in musicology, writing his thesis on the daughter, Lisa, “meeting dignitaries, sneaking into th Christina. “Guess which child got the most practice, so my sisters would come and bring their Neapolitan School operas of the 18 century. rehearsals, trying on costumes, running the elevator. attention — the opera!” books and sit while I played on,” said DiChiera in an We often fell asleep on the couch in Dad’s office, interview for the National Endowment for the Arts. Destiny: Detroit books open on our laps.” “” — fate — has its own ideas in DiChiera’s dedication to music would lead him to turn Verdi’s great opera and so it proved for DiChiera David DiChiera was nothing if not patient in his It was a family affair, with Karen VanderKloot composer and pen a concerto for unaccompanied when he received a phone call from the chancellor pursuit of his dream and in 1971, thanks to his DiChiera, herself a composer, educator and stage Resourceful Leader David DiChiera had become an admired and respected leader in regional opera by the time he was tapped to serve as President of OPERA America, the national association of professional opera companies. He served in this position from 1979 to 1983, expanding his purview from one opera company to opera organizations nationwide.

When DiChiera assumed leadership of the Architectural renderings of organization, there were essentially no new operas the proposed design for produced on America’s opera stages (MOT was the state-of-the-art performing, rehearsal and set building exception with “Washington Square.”) Under his facilities at the new Detroit aegis, OPERA America sponsored two programs: Opera House. Opera for the ‘80s and Beyond, which developed innovative methods of encouraging and funding MOT’s new home would not be ready for six more the national opera of Armenia. Detroit’s growing new American musical theater works, and Opera years, opening with full fanfare in April 1996 as Latino community will be celebrated in the coming for a New America, which supported companies in Dame cut the ribbon on the 2,700 production of “Frieda,” an opera about Mexican their efforts to reach previously underserved segments seat building. The opening of the Detroit Opera painter and cultural icon, Frieda Kahlo. An opera th Karen VanderKloot DiChiera, David DiChiera, Lisa DiChiera (left front) and of the population. House upon the occasion of MOT’s 25 Anniversary centering around Arab Americans (whose metro Christina DiChiera (right front) in a 1970s family portrait. was a historic event for the Motor City, the pinnacle Detroit community is one the nation’s largest) and These initiatives were so successful that by the middle of a crusade by MOT’s supporters and the city’s arts their experience is in the planning stages. of the 1990s, 20 to 25 new works were being activists, and an epic achievement for the man who, director, going on to become founder and director of consistently produced on the stages of America’s according to his daughters, “lives, breathes, eats and Perhaps no aspect of DiChiera’s reputation in the Michigan Opera Theatre’s Department of Community opera companies. sleeps opera.” opera world exceeds his advocacy of minorities. He Programs. The Music Hall Center and Michigan has been an industry leader in color-blind casting, Opera Theatre became a catalyst for the renaissance A Historic Achievement Joanne Danto, one of the prime benefactors of MOT’s helping advance the careers of Kathleen 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge of the creative arts in the Motor City. DiChiera’s talent did not go unnoticed and he Dance Program recalls the opening as “spectacular, Battle, Maria Ewing, and soon received a number of invitations to lead other an amazing day in this city. It was the beginning of Vinson Cole. He commissioned and staged “Margaret Michigan Opera Theatre commissioned and staged companies. In 1981, he was appointed artistic an era for all of us who Garner,” an opera by Richard

DAVID DICHIERA DAVID Danielpour and Toni Morrison DICHIERA DAVID its first world premiere in 1976, American composer director of ’s Dayton Opera Association, greatly David and wanted to see this | |

12 ’s “Washington Square.” Adapted increasing tickets sales, raising the company’s opera house succeed. It’s not based on a true slave story set in 13 from the novel by Henry James, the work earned artistic standards and earning favorable critical just an opera house, it’s an icon pre-Civil War America, which nationwide coverage in the press. At the time, reviews. for strength and survival, for became the first world premiere DiChiera felt the act of commissioning the opera as expression and freedom, for the on the Detroit Opera House stage important as the work itself, writing in the opera’s DiChiera’s reputation as an artistic director who way the city can reinvent itself.” in 2005. The work reverberated commemorative program: was willing to experiment and extend the aesthetic not only in Detroit but also in encounters of his audiences would bring a third A Reflection of the Community communities across the country. company under his wing in 1986, when he became DiChiera has oft been quoted in the founding general director of Opera Pacific in his belief that “opera’s an art The Composer Returns “Every art form, be it opera, theater, dance, Orange County. “He took this job when we had no form that speaks to everyone, The great American mezzo-soprano Denyce “When did he ever have any time or symphonic music, can remain viable if it Graves in the title role during the 2005 world premiere money in the bank and no staff, and built a very and if it does, then you have to of serenity to compose a work of continues to be enriched by new works. We of “Margaret Garnerˮ at the Detroit Opera House. successful opera company here,” recalls then Opera find ways that everybody can feel such beauty and maturity?” was take for granted the hundreds of films as if they can access it as well.” a question an opera lover could ask when DiChiera’s produced yearly, and know that of these one Pacific board member Tom Hammond. or two will probably emerge as cinematic full-length grand opera, “Cyrano,” made its debut masterpieces. The hundred operas that have DiChiera remained with Dayton Opera until 1992 and Under David DiChiera’s artistic direction, Michigan on the stage of the Detroit Opera House in 2007. survived and become the standard repertoire Opera Pacific until 1996, when he resigned to devote Opera Theatre expanded its traditional operatic Artist and fellow virtuoso Glen Michaels still marvels represent thousands that have been composed more time to the opening of the Detroit Opera House. repertoire to celebrate ethnicities and nationalities at DiChiera’s compositional triumph, saying, “David in order to accommodate that narrow and build bridges into the various communities of surprised everyone with ‘Cyrano’ when it premiered. selectivity. And so it must be in the 20th A New Cultural Landmark southeastern Michigan. It was simply stunning.” century. We must seek to provide for the birth The campaign to create a permanent home with of many new operas.” a stage large enough for the grandest of opera Throughout MOT’s history, Detroiters flocked to DiChiera had composed music since his teens, writing productions began in 1989, when Michigan Opera productions of the Gershwin’s “,” his “Four Sonnets” for voice and piano in his 20s. Theatre purchased the Robert’s Fur building next to ’s “,” and the North American Composition had long taken a back seat to artistic the former Capitol Theatre on Grand Circus Park. premieres of the Polish “” and “Anoush,” administration when longtime friend, director Cockwise, from the left: the composer at work in the grand salon of his Detroit home; photos of family, friends and colleagues; Dame Joan Sutherland and DiChiera after her swan song performance of “Normaˮ’; photos of celebrities in DiChiera’s Detroit Opera House office include , Graham, and Sammy Davis Jr. with wife Altovise; the 1994 MOT Opera Ball at the Detroit Opera House.

chairs, a massive desk, piano, books, hundreds of musical scores, celebrity photos, sculpture, posters, mementoes, kitchen and dining table, it has been more of a home to DiChiera than his art-filled palazzo in Detroit’s . “It’s like my house,” he says softly. 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

DiChiera is actively involved in the search for new Bernard Uzan, approached the production “in a very tough talent to carry on his legacy at MOT, more than DAVID DICHIERA DAVID DICHIERA DAVID

| David with the idea of composing economy.” ready to embrace a future devoted to his personal |

14 the score for the libretto he had creative ambitions. There will be a new opera. 15 written, based on the classic “Cyrano” was a success in New compositions for and voice have tale of . Detroit, and in Florida and been drafted. “Change is part of life, you know,” Philadelphia as well, as “it says DiChiera. “I knew he was a great composer really contains everything that and this story would suit his people go to an opera production And he will make the change, as did his hero Cyrano, lush, romantic style,” says for,” said Robert Heuer in 2011, with “mon .” “It means my achievements, Uzan. ‘He trusted me and he then general and artistic director my courage in life, the way I behave, my way of was ready to do it. In life, of the Florida Grand Opera. “It being with people, my creativity, my invention,” says A fencing scene from “Cyrano,ˮ with Marian whenever we make a big Pop in the title role, 2007. has absolutely gorgeous music Bernard Uzan. “It goes very, very well with David.” decision, there is never one for all the principals. The final reason, there are always a score between Roxane and “How many people get to see their biggest dream, multiplicity of reasons and such was the case with Cyrano is extremely moving. I watched the premiere their grandest vision in life fulfilled?” asks longtime David, at that point in his life and work.” in Detroit and audiences were in tears.” MOT board member Betty Brooks. “David DiChiera did. And we are all the richer for it.” David was 62 when “Cyrano” had its premiere in Mon Panache Detroit, an event occasioned through the intercession “Ritartando,” to “gradually slow down” will not of MOT’s board chairman, R. “Rick” Jamison Williams come easily to maestro DiChiera. “It will be an Jr., DiChiera had intended on producing the opera adjustment to stop with the general director duties, with another company, thinking it inappropriate for when I step down to artistic director in 2016. It will “me to run my own work.” “I insisted it was a rare be hard to give up this office,” he says, gazing privilege, one that belonged to his hometown and his around the spacious corner suite, a high-ceilinged own company. Fortunately, he agreed with me,” says space aglow with the morning light of its many Williams. Together, they raised $1.5 million towards oversized windows. Filled with couches, high-backed Timeline of a Premiered his Founder and opera, “Cyrano,ˮ Founder General Awarded at MOT, with & General Named Director of Bridge subsequent Awarded Director of Chairman LifetimeOpera Pacific Builders performances Fulbright Michigan of the (concurrent honor by by Opera Born in scholarship Opera Board for with MOT Partners Philadelphia Named McKeesport, for studies Theatre OPERA & Dayton for Livable and Florida 2013 Kresge

Pa. in Italy (MOT) America Opera) Communities Grand Opera Eminent Artist 1935 1958 1971 1979 1986 2000 2007 2013

1956 1962 1975 1981 1996 2005 2010 Earned MA in Earned Ph.D. Founder and Appointed Championed Commissioned Recognized composition in musicology Director of Artistic the efforts and premiered by The 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

from UCLA from UCLA Music Hall Director that led to Richard National Center for the of Dayton the opening Danielpour and Endowment Performing Opera of the Detroit Toni Morrison’s for the Arts Arts, Detroit (concurrent Opera House, “Margaret for NEA DAVID DICHIERA DAVID DICHIERA DAVID

with MOT) on the Garnerˮ at MOT Opera | |

16 occasion of Honors 17 MOT’s 25th anniversary HISTORY OF MICHIGAN OPERA THEATRE

BY TIMOTHY PAUL LENTZ, Ph.D. 1961-1971to OvertureDavid DiChiera was an assistant professor of music at OeraI couldn’t accept that fact;years I knew the constituency Oakland University in 1963, when he was asked for it was here.” In addition, he was committed to to become director of Overture to Opera. DiChiera the idea that the future of opera in America was the was fresh out of the music school’s doctoral program continued growth of regional companies. at the University of California at Los Angeles and had only one year of teaching under his belt. Yet, in In 1967 he expanded the format of Overture to include that short time he caught the attention of a complete opera, the Michigan premiere of Cherubini’s Yntema, general chairwoman of the Detroit Grand one-act “The Portuguese Inn.” That year Collins Opera Association, who suggested he take charge George, music critic for the Detroit Free Press, expressed of Overture because of his expertise and enthusiasm the public’s growing enthusiasm: in discussing the opera performances as an Education Committee panelist. He served as producer-director

of Overture to Opera for seasons, laying the The verve, the spirit with which everything is groundwork, securing financial support and estab- presented, the way the company can capture and project a dramatic movement; lishing the reputation that would lead to the founding in general, the high level of competence of of Michigan Opera Theatre. the performances make them worthwhile. ... The real lesson of the Overture company is DiChiera had come to Oakland University because that there is a place in Detroit for an 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge the university itself was new and he saw a compelling operatic stock company. ... Thanks must be opportunity to build its music program. While expressed to DiChiera for this awakening to directing Overture to Opera in the mid-1960s he was awareness of opera of such a large segment instrumental in launching the university’s major DAVID DICHIERA DAVID DICHIERA DAVID

of the population. | | Dinner onstage for MOT’s annual Opera Ball, here set cultural offerings, the Meadow Brook Music Festival 18 19 amidst the Egyptian splendor of “.ˮ and Meadow Brook Theatre. It was the building of “ an opera company, however, that was to hold his In 1970, Overture produced its first full-length opera, OT has become the focal point of a cultural renaissance in Detroit.” This quote from the New primary interest. Rossini’s “.” It starred Maria York Daily News appeared in 1976, just a few short years after the establishment of Michigan Ewing in her professional debut and was directed DiChiera’s first three seasons with Overture were, by and featured Italo Tajo, the renowned and Opera Theatre (MOT). To all but a handful of people, it was almost inconceivable in the 1960s and early as planned, programs of scenes from the operas the star of the Met and ’s . The season 1970s that Detroit could or would support, financially as well as emotionally, its own opera company. Yet Met would perform in its annual also included performances at the MOT quickly gained a reputation as one of the nation’s fastest-growing and most innovative regional opera Detroit season. In an approach Detroit Institute of Arts, with a full companies and, eventually, one of the country’s premiere producers of opera and musical theater. It all very much like Leonard orchestra. Overture to Opera had began in 1943, when the Detroit Grand Opera Association, a group of influential arts patrons and prominent Bernstein’s Young People’s Concerts, evolved into a full-fledged opera civic leaders, brought the Philadelphia La Scala Opera Company to town. The company would continue to DiChiera would introduce the company – one now in search of works to the audience and discuss a home. visit Detroit for eight seasons, followed by several seasons of the Opera. In 1957, faced with relevant opera and music history. declining attendance, the association, led by grand opera champion Frank Donovan and with the support of Although the Detroit Grand Opera Overture’s founding members Anne McDonald Ford, decided to bring the prestigious Metropolitan Opera (Met) Tour to Detroit. The first of Association thought of Overture as became the new opera company’s many years of Met tours to Detroit began in May 1959. As chairwoman of the association’s volunteer its educational and promotional first board of directors. Lynn committee, Ford built a strong organization that included an education committee, chaired by Jennie Jones. arm for the Met productions, Townsend, chairman of Chrysler The education committee’s purpose was to develop interest in opera among school-age children and college DiChiera saw it as a chance to Corp., had served as the Overture develop something that belonged MOT’s Chairmen of the Board. Left, Robert program’s board chairman and students, offer lower-priced tickets and generally promote the Met productions. As part of this effort, in 1961 to the city. For a 1982 article in Dewar (1980-2000) and wife Nancy; right, continued to lead the opera Lynn Townsend (1971-1980) with wife Ruth. Jones created Overture to Opera to perform excerpts from each season’s upcoming Met productions at The Ann Arbor News, he recalled, company as chairman until 1980, various locations in metropolitan Detroit. At each Overture to Opera performance, a panel would discuss and “Detroit was the fifth-largest city in the nation and when he passed the baton to Robert Dewar, chairman interpret scenes that the audience was about to see. the only major city without an opera company. of Kmart Corp. 1972-1983

MusicWith productions that included the MichiganHall premieres Years of ’s “Joseph and the Amazing Technicolor Dreamcoat” and Puccini’s “,” Overture to Opera ended its 10 nomadic years in 1971 with its first season in the Music Hall. Locating the opera on Madison Avenue in downtown Detroit was the spark that ignited the rebirth of the city’s theater and entertainment district; DiChiera and his young opera company were the first to commit to downtown and reinvest in a district that had seen many years of serious decline. It was a significant moment in the .

In 1972 the fledgling company was accepted into OPERA America, the national organization for opera Cleo Laine as Desire Armfeldt in MOT’s 1983 production of Stephen companies. That year, an eclectic main-stage season Sondheim’s “.” included works by Mozart, Menotti and Puccini. Education and outreach activities continued, notably Wearing two hats (for the first of many times) agreed 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

with the creation of an Opera in Residence; Michigan with DiChiera and both organizations. In May 1976 communities were now able to host the company for the entertainment journal Variety wrote: a week of opera experiences that included classes, workshops and a full production featuring members DAVID DICHIERA DAVID DICHIERA DAVID

The flourishing of Michigan Opera Theatre | | of the community performing alongside opera 20 21 professionals. Karen VanderKloot DiChiera, DiChiera’s and Music Hall Center for the Performing Arts then wife, directed the company’s outreach and is due to the efforts of a great many interested education activities. Her leadership proved to be key people, but no one doubts that the prime to building and sustaining an audience for the mover in what is happening in Detroit is regional opera company and was an invaluable 39-year-old David DiChiera. Because of contribution to the character and strength of a DiChiera, Detroiters now have a spread of company that was garnering national recognition theater, music, dance, opera, pop and ethnic for its unique and varied programming. entertainment. DiChiera is doing what, three years ago, was thought impossible — In 1973 the company changed its name from Overture he is bringing Detroiters back downtown at to Michigan Opera Theatre. The new name reflected night, in droves, and he is garnering a the company’s mandate to serve the entire state and portfolio of excellent reviews. give equal emphasis to the operatic repertory and classic American musical theater, a dual purpose that was a novel concept at the time. The Music Hall years were filled with artistic successes for which MOT quickly established a reputation as a The opera company had finally found a comfortable company of distinction. It stepped into the national home in Music Hall, but the building’s future was by limelight when it commissioned and produced the no means secure. To protect the structure from possible world premiere of Thomas Pasatieri’s “Washington Clockwise from top left: DiChiera outside Music Hall with Leona Mitchell, “Bessˮ in MOT̓s 1975 demolition, a group of volunteers established the Square,” starring . A 1976 Time production of “Porgy and Bessˮ; in Flint schools Music Hall Center for the Performing Arts. DiChiera magazine article observed, “Nothing testifies to the as part of MOT’s community outreach program, 1976; MOT’s early home, Music Hall; MOT board was its executive director, running the opera company growing up of a regional American opera company President Lynn Townsend (left), General Director from offices on one floor of the Music Hall and the quite like a world premiere.” The Christian Science DiChiera and the cast of “La Traviataˮ receive a Michigan Opera Theatre Day proclamation from nonprofit center from another. Monitor dubbed MOT “Detroit’s Showcase”; Variety Detroit Mayor Coleman Young in 1976. Fisher/ Masonic 1985-1995 Years declared the “Washington Opera (a position he Square” premiere “a first held from 1981 to 1991), for Michigan Opera DiChiera could essentially Theatre and a milestone collaborate with himself,

for Detroit and Michigan.” In its dedication to the production of American operas, MOT presented sharing the artistic praised ’s “The Tender Landˮ in 1976. DiChiera reviews the resources and leveraging score with Copland and choreographer Eugene Loring (left). MOT as “a triumph of the financial resources of regional opera.” all three institutions for considerable savings and higher- quality productions. Other highlights of the company’s main-stage Music The unique, tri-company framework DiChiera Hall performances included created was regarded as a formula for the future of

• the professional operatic debut of soprano opera production. Kathleen Battle, • the revival, telecast and ensuing Broadway run In 1983, after extensive strategic planning, MOT of “,” announced it would broaden the scope of the • actor ’s directorial debut, with Menotti’s company by producing large-scale grand opera at Above, left: Dame Joan Sutherland and DiChiera toast her final performance of Bellini’s “,” 1989. Top, right: World famous Bulgarian soprano “,” in which he also played Toby, the Masonic Temple Theatre along with the offerings Ghena Dimitrova with David DiChiera in Detroit for her 1986 starring role of “.” Below: DiChiera with Edie Adams, right, after her 1988 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge • the national telecast of Aaron Copland’s at Music Hall. In 1984 following the Met’s spring tour, performance in “.” “The Tender Land,” conducted by the composer MOT produced its first grand opera in the Masonic himself, Temple, Donizetti’s “”; it featured a Michigan Opera Theatre celebrated as the sixth consecutive year in the DAVID DICHIERA DAVID DICHIERA DAVID

• the American opera debut of Cleo Laine, in cast of international stars including soprano Dame its 15th season in 1985 by moving black. It featured ’s | |

22 “The Merry Widow,” Joan Sutherland and conductor , to the Fisher Theatre for its fall “,” presented 23 • Catherine Malfitano’s first “.” the then-unknown Ben Heppner and the Midwest presentations. The decision to leave for the first time in 28 years, and the premiere of English . the Music Hall was a difficult one for Detroit premiere of ’s Its presentation of the “The Haunted DiChiera and the board of directors, “Follies,” starring Prowse, Edie Castle” and the Armenian opera “Anoush” distin- In spring 1985 the Detroit Grand Opera Association but the move was a necessary Adams and Nancy Dussault. guished MOT as one of the first companies to present announced it would no longer bring the Met to part of the plans for the company’s major premieres of national operas that reflected Detroit; MOT was ready and able to produce grand growth. MOT now had two stages: Michigan Opera Theatre commis- the makeup of the community. Further national opera on the same scale. The 1985 and 1986 seasons the 2,100-seat Fisher Theatre and sioned a new production of Bellini’s recognition came from mounting important revivals returned to the Masonic Temple for Verdi’s “Aida” the 4,000-seat Masonic Temple. That “Norma” in 1989 from English of such American works as ’s starring Leona Mitchell in her first performance in year it mounted the first American theater artist John Pascoe for Dame “Porgy and Bess,” Marc Blitzstein’s “,” Scott the title role, followed by Bulgarian soprano Ghena opera production of Bernstein’s “,” Joan Sutherland’s final performances of the role, a Joplin’s “Treemonisha” and Louis Gruenberg’s “The Dimitrova in Puccini’s “Turandot.” These productions which enjoyed an extended run; presented production that garnered the company its first NPR Emperor Jones.” Fully 25 percent of the company’s marked the beginning of a new era for MOT. its first full grand-opera season at the Masonic broadcast. That same season, MOT added classical main-stage productions were devoted to opera and Temple and earned its rank as one of the top 10 to its programming with a production of musical theater works by American composers. opera companies in the United States based on its “Swan Lake” starring Cynthia Gregory. The combined operating budget. audiences for main-stage and outreach programs In 1979 DiChiera was named a Michiganian of the that season exceeded 230,000. In 1990 MOT mounted Year by The Detroit News and was elected president of During the 1987-88 season, with a budget topping a revival of “” and produced its first-ever OPERA America, a post he held for four years. In 1985 $5 million and subscribers numbering more than opera, “,” starring DiChiera was named general director of California’s 9,000, MOT launched its biggest season ever, high- soprano . It also unveiled a new Opera Pacific; its first performance season that lighted by the historic Detroit concert debut of Luciano production of Mozart’s “” designed year was on the stage of the new Orange County Pavarotti to a full house at Joe Louis Arena, the and directed by John Pascoe, which along with Performing Arts Center. Now, as general director of 20,066-seat hockey arena. The 1988-89 season opened Pascoe’s production of “Norma” was shared with the two companies and artistic director of Dayton with MOT’s 500th public performance and concluded Opera Pacific and Dayton Opera. Continued on page 30 Setting Stories to Song in MOTown PERFORMED 9 TIMES

Under the direction of David DiChiera, Michigan Opera Theatre has become one Right: A graphic representation PERFORMED 7 TIMES of Michigan Opera Theatre’s of the most respected opera companies in the world, with a repertory ranging most popular productions, with PERFORMED 6 TIMES from grand opera to operatic productions of musical theater. Below, a reader’s Puccini’s “Madame Butterfly” PERFORMED 5 TIMES on stage at the Detroit Opera guide to MOT’s most significant productions. PERFORMED 4 TIMES House a record nine times. PERFORMED 3 TIMES

PERFORMED 2 TIMES

PERFORMED 1 TIME

The Abduction From the Anna Bolena The Ballad of Baby Doe Seraglio ’s tragic opera Douglas Moore’s opera is one of ’s only blends takes place in England during the the few American operas to be in completed opera takes place at high comedy with touching tragedy early 16th century, focusing on the the standard repertory. The work the end of the 16th century in

in this wild story of two men dramatic story of the most famous is based on the lives of actual , where the reluctant tsar rescuing their lovers from a of Henry VIII’s six wives. historical figures Horace Tabor, confronts his own dark past and pasha’s harem. Elizabeth “Baby” Doe Tabor and the trials and loneliness of power.* , and follows Così fan tutte Dead Man Walking The Elixir of Love their scandal-plagued story from Mozart’s operatic masterpiece is ’s contemporary Donizetti spins a gentle romantic Based on Shakespeare’s “The Colorado’s silver mines to Brundibár the tale of two young soldiers who work recounts the true story of the comedy out of the story of the Merry Wives of Windsor” and Washington’s populist politics at Jewish Czech composer Hans disguise their identities to test their relationship between a Catholic simple peasant Nemorino, who is “Henry IV,” Verdi’s last opera is a the end of the 19th century. Krása’s dramatic children’s opera lovers’ fidelity in a sublime and nun, Sister Helen Prejean, and the tricked into buying up bottles of wise, wistful comedy about a uses fairy tale elements to tell the sometimes startling mix of hilarious convicted rapist and double cheap liquor as a guaranteed love self-deluded old man who vainly 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge story of a sister and brother who farce and poignant drama.* murderer Joseph De Rocher, potion but in the end has the attempts to seduce two women manage to outwit the title character, before he was executed by the last laugh. at once. an evil organ grinder, and sing state of . Anoush in the market square to earn Aida The first opera inspired by money for their ill mother. The DAVID DICHIERA DAVID DICHIERA DAVID

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A bitter love triangle plays itself Armenian folk music and culture, opera was originally performed 24 out against a backdrop of war Armen Tigranian’s work centers by children in the Theresienstadt 25 and cultural oppression in ancient around the tragedy of a peasant concentration camp in Nazi- Egypt in this compelling tale of girl (Anoush) whose short love occupied Czechoslovakia. conflicting loyalties and forbidden affair ends in loss and death The Barber of Seville passion. Spectacular pageantry because of conflict between With the help of a wily barber, a and emotional intimacy are her lover (Saro) and her brother strong-willed young woman Cyrano brilliantly balanced in Giuseppe (Mossy). outwits a lecherous old man in this David DiChiera’s grand romantic The Emperor Jones Verdi’s grandest of grand operas. sparkling comedy. Gioachino opera is based on Edmond Die Fledermaus Set on an unnamed island in the In ’s 1859 grand Rossini’s witty heroine, the feisty Rostand’s “Cyrano de Bergerac,” An 1875 farce full of waltzes and West Indies, Louis Gruenberg’s opera, inspired by Goethe, the old Rosina, steals the show. the French soldier doomed to an unforgettable melodies by Johann opera tells the story of Brutus philosopher Faust tries to recover unrequited love for his distant Strauss II, this Viennese Jones, a former Pullman porter his youth via a doomed pact with cousin, Roxane. is the ultimate tale of bad behavior and ex-convict who escaped to the devil, Mephistopheles.* and marital infidelity. the island, set himself up as its tyrannical “emperor” and became ’s gypsy antiheroine rich by exploiting the natives — Fidelio (based on the title character of who eventually revolt against him. Leonora dresses as a man, Prosper Mérimée’s novella) “Fidelio,” to save her husband from Ariadne auf Naxos collects and discards men without political imprisonment and certain A Little Night Music High and low art compete to care, abandoning the besotted death. The great central themes Stephen Sondheim’s musical, capture the public’s attention in soldier Don José in favor of the in ’s only inspired by director Ingmar this comedic opera, set to La Boheme handsome bullfighter Escamillo, opera are conjugal love and Bergman’s film “Smiles of a consummately beautiful music ’s bittersweet with tragic results. freedom from tyranny.* Summer Night,” visits the romantic by Richard Strauss. favorite examines the fleeting nature The Daughter of the Regiment lives of several couples on a single of life, love and happiness through A tomboy, unable to transform into Don Giovanni evening. The musical features the a series of short scenes — a snooty duchess, finds true love Mozart’s bold, beguiling blend of beloved “Send In the Clowns.” student Rodolfo and consumptive anyway in Donizetti’s . comedy and drama tells the tale of seamstress Mimì fall in love, but a proud, predatory nobleman and the relationship breaks down due the women who are drawn to him. Peter Tchaikovsky’s opera, based to his jealousy. Only as she dies on the Alexander Pushkin story, do they fully understand each focuses on the hopeless, youthful other’s true worth. passion of Tatyana for the title character. Onegin carelessly rejects her and then, too late, awakens to her love.* The Flying Dutchman Margaret Garner Regina Samson and Delilah The Norwegian coast is the setting Young, unstable Lucy Ashton is The distinctly American story of a ’s best-known Pagliacci is the famous play-within- Based on the heroine of Lillian Based on the Old Testament story, An eccentric writer tells the stories for ’s opera, the coerced into marrying a man she slave who chooses to kill her own opera contains a remarkable a-play where the clown who Hellman’s play “The Little Foxes,” this is the only opera by Camille of his great failed romances in this saga of an ancient sea captain does not love and stabs him to daughter rather than turn her over portrait of Manon, as she grows makes others laugh is sobbing Marc Blitzstein’s opera tells of the Saint-Saëns that is regularly opera fantastique by Jacques condemned to sail his phantom death on their wedding night. The to bondage is by Richard from wide-eyed innocence to a inside because onstage and off, struggle for control of a family performed. Offenbach. ship throughout eternity unless most famous “” in all of Danielpour and Toni Morrison. guilty womanhood. his actress-wife is having a torrid business. he finds a faithful wife to release opera is the highlight of Donizetti’s affair with a younger man. Ruggero the curse. bodice-ripper, based on Walter Leoncavallo based his realistic The Tender Land Scott’s melodrama. opera on an incident in the The eve of her high school High farce meets human frailty and Calabrian village of Montalto, graduation finds Laurie Moss the quest for love in Mozart’s 1786 where the subsequent trial had longing for a life beyond the family “,” which continues the been before his father as farm and, in Aaron Copland’s story of “The Barber of Seville.” magistrate.* opera set in the American Midwest, believing she will find it when she elopes with an itinerant Show Boat farm hand who has captured The Most Happy Fella A true classic of American musical her heart. Frank Loesser’s heart-warming Playboy duke seduces and theater, Jerome Kern’s tale of life Follies musical of the unlikely romance abandons pretty virgin. When her on the Mississippi from the 1880s Stephan Sondheim’s bittersweet Madame Butterfly between aging Italian fruit grower hunchbacked father, the duke’s to the 1920s is both a poignant musical reunion of aging showgirls A heartbreaking tale of innocence, Tony and the waitress Rosabella, jester, seeks vengeance, it love story and a powerful reminder as they make a final pilgrimage to betrayal and sacrifice unfolds whom he courts by post and, backfires horribly. One of the best of the bitter legacy of racism. the grand theater that once gave in Puccini’s classic work as the during his convalescence after known of Verdi’s operas, “La them wings. Two couples – Buddy Japanese geisha Butterfly falls A Masked Ball a car accident, wins through his Porgy and Bess donna è mobile” (“Woman is and Sally Durant Plummer, and victim to an American lieutenant’s Verdi’s king is conspired against sincerity. Crown, a murderous local thug, Fickle”) is the most famous of Benjamin and Phyllis Rogers reckless passion. and ultimately betrayed by his keeps Bess by his side through its . Stone – who are attending the most-trusted friend. intimidation and his own sexual reunion, are the focus of the story. prowess. Bess falls for the Tosca good-hearted Porgy, but in the end Puccini’s masterwork is a can’t resist the “happy dust” of melodrama set in in June 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge dope-peddling Sportin’ Life. Porgy, 1800, with the Kingdom of Naples’ the lame beggar who’s the control of Rome threatened by strongest of them all, reigns as an Side by Side by Sondheim Napoleon’s invasion of Italy. A indomitable spirit determined to do A musical revue of composer tragic tale of jealousy, love and whatever it takes to reclaim the Stephen Sondheim’s favorite loss, the beloved opera is full of DAVID DICHIERA DAVID DICHIERA DAVID

| | woman he loves, in George themes and best-loved songs. Its exquisite arias, with the moving 26 27 Verdi’s opera follows the plight of Gershwin’s classic work. La Rondine title is derived from the song “Side “Vissi d’arte” perhaps the best Mozart’s famous opera represents The Medium the Jews as they are assaulted, The sparkle and glamour of Paris’ by Side by Side” from “Company.” known. The Haunted Castle a search for truth and wisdom, Baba, who as “Madame Flora” conquered and subsequently Banquet Years provide the glorious Stanislaw Moniuszko’s comic, with a plot akin to a fairy tale: conducts bogus séances with her exiled from their homeland by The Portuguese Inn backdrop for Puccini’s romantic romantic opera has strong Polish A noble prince is ordered by the daughter and a gypsy deaf-mute the Babylonian king Nabucco Luigi Cherubini’s one-act comic tale of love won and lost. patriotic undertones, which has mysterious Queen of the Night to named Toby to extract money from (Nebuchadnezzar). opera of runaway lovers and made it one of the country’s most rescue a beautiful princess who bereaved parents, is at the center mistaken identity premiered in beloved musical works. has been kidnapped. of ’s short, Paris in 1798. dark opera.

The Maker of Illusions Set in a fantasy land, the plot surrounds a wicked queen who La Sonnambula La Traviata has squandered her “life force” Amina is a delicate, sweet village Violetta Valéry is a high-spirited but on evil deeds. Seymour Barab’s girl whose sleepwalking confuses deceptively delicate woman who light children’s opera imparts moral the locals into thinking she’s unexpectedly finds, and then lessons about inner beauty and Norma Richard Strauss’s one-act opera is unfaithful to her fiancé. Of course, selflessly gives up, the love of her caring for others. Set in 50 B.C. Gaul, Bellini’s based on the play by . she’s exonerated and all ends all-too-short life. Based on the King Roger greatest tragic opera centers and Juliet The teenage Salome lusts for happily in this masterpiece for novel “The Lady of the Camellias” Set in 12th century Sicily, Polish The Merry Widow around the love between the Gounod’s 1867 opera is based on Jokanaan (John the Baptist). Her the soprano by by Alexandre Dumas, fils, Verdi’s composer ’s Franz Lehár’s operetta is set in daughter of a high priest and a Shakespeare’s play about the two stepfather, Herod, forces her to . “La Traviata” is the most performed 20th-century opera concerns the 1900s Paris, where a rich widow Roman proconsul. Norma’s first-act star-crossed young lovers, dance for him – the Dance of the opera in the world. enlightenment of the Christian King and her countrymen attempt to prayer to the moon, “Casta diva” highlighted by Juliet’s brilliant Seven Veils – and she demands Roger II by a young shepherd who keep her money in her home (chaste goddess), is one of the waltz, “Je veux vivre.” the prophet’s head on a plate represents pagan ideals. principality of Pontevedria by greatest bel canto arias of all time. in return. finding her the right husband. MICHIGAN OPERA THEATRE PREMIERES Treemonisha Washington Square The theme of Scott Joplin’s opera The trysts and tribulations of first is education as salvation, as love take unexpected turns in represented by the heroine and Thomas Pasatieri’s adaptation of symbolic educator Treemonisha. the classic Henry James story. World Michigan 1976: “Washington Square” by 1967: “The Portugese Inn” by Thomas Pasatieri Luigi Cherubini 1978: “Singers” by Charles Strouse 1971: “Joseph and the Amazing (Commissioned by MOT) Technicolor Dreamcoat” by Il Trovatore 2005: “Margaret Garner” by Andrew Lloyd Weber Azucena is the mysterious gypsy In Massenet’s masterpiece, based “La Rondine” (The Swallow) driven to avenge her mother, who on Goethe’s “Sorrows of the Young 1971: burned at the stake at the hands Werther,” tears never cease to flow “Cyrano” by David DiChiera by Giacomo Puccini of the first Count di Luna. Manrico, from the moment the moonlight 2007: her supposed son, is the fiery idyll is revealed and destroyed. 1972: “The Perfect Fool” by partisan troubadour. The current Inspired by the true story of a count is the dangerous commander suicide of a young man who was of the royal forces. In Verdi’s in love with a married woman. North American 1979: “The Emperor Jones” by classic opera, both men love the 1981: “Anoush” by Armen Tigranian same woman and one will murder Louis Gruenberg the other – learning too late that he “Of Mice and Men” by has executed his own brother.* 1980: American 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge 1982: “The Haunted Castle” 1982: “Treemonisha” by Scott Joplin (Straszny Dwor) by 2003: “Dead Man Walking” by Stanislow Monuszko Jake Heggie

DAVID DICHIERA DAVID West Side Story “King Roger” by DICHIERA DAVID 1992: | | and Stephen 28 Sondheim’s masterpiece. Loosely Karol Szymanowski 29 based on Shakespeare’s “Romeo (in Polish) American Premiere Turandot and Juliet” and set in the slums of Ancient Peking is the backdrop for New York City, the show used the Original Language Production the mythical tale of the beautiful, juvenile gangs of local whites (the bloodthirsty Princess Turandot. Jets) and immigrant Puerto Ricans Resolved to never let a man (the Sharks) as the modern possess her, she decrees that any Montagues and Capulets. Midwest suitor must answer three riddles or “Der Jasager” (The Choice) die. Puccini’s final opera is also *This opera does not appear in 1969: his most musically adventurous, Timothy Paul Lentz’s “The History by Berthold Brecht and boasting one of the world’s most of Michigan Opera Theatre.” famous arias: “Nessun dorma.” 1971: “Help, Help The Globolinks” by Gian Carlo Menotti 1975: “” by Leonard Bernstein 1977: “Regina” by Marc Blitzstein The 1990-1995 1996

EstablishingThe move to the Fisher and Masonic aNew Sondheim,”Home “The Music Man” and DetroitOpera The Detroit OperaHouse House inaugural gala took place on theaters temporarily met the company’s a sumptuous “Samson and Delilah,” April 21, 1996, with Pavarotti in performance — the needs for greater technical resources, the highlight of the main-stage season legendary tenor sang the arias “Lamento di Federico” seating capacity and audience amenities. was the American Midwest premiere of from “L’Arlesiana” and “E lucevan le stelle” from But the future of the opera company as the Polish opera “King Roger,” by Karol “Tosca” — at what was the most significant milepost a permanent resource for the city and Szymanowski. The Polish community in the history of Michigan Opera Theatre. The dream state, as envisioned in the strategic plan responded with an international out- of a permanent home for opera in the city of Detroit developed by DiChiera and the board pouring of support. had become a reality: Joan Sutherland declared the in the mid-1980s, depended on finding Detroit Opera House “open and ready for music.” or creating — and controlling — a Meanwhile, progress on the new opera

world-class facility to accommodate David DiChiera with soprano house continued. The Roberts Fur Building The theater was comparable in function, size and MOT’s programming. Carol Neblett at the 1987 on the Capitol Theatre block fell to the aesthetics to the finest opera houses in the world and

MOT Opera Ball. wrecking ball in spring 1993, making instantly became a cornerstone of cultural life for the In the late 1980s the company had seriously way for a new, 75,000- square-foot stage house. city. Detroit Mayor Dennis Archer, Michigan Gov. considered renovating the State Theatre, although Three other developments furthered the John Engler and President joined in an the arrangement was not ideal because the facility momentum: international outpouring of support for the achieve- was available only for rent, not for sale. In the midst • a $1.25 million capital challenge grant from ment. The opening of the opera house coincided of those discussions, the former Capitol Theatre The Kresge Foundation, with MOT’s silver anniversary. , then 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge became available for purchase. DiChiera considered • the acquisition of the last of the eight parcels in general director of the and a the structure ideal because of its opera-house-style the Capitol Theatre block, and friend and colleague of DiChiera’s, wrote: interior and surrounding real estate that offered • the 1994 Opera Ball, held inside the unrestored

space for a new stage house. He brought in facilities auditorium; it gave many of the guests their first DAVID DICHIERA DAVID DICHIERA DAVID

You have been a fantastic champion for | | experts to examine the site; they confirmed its look at the exquisite (yet dilapidated) interior. 30 opera in North America, David, with the 31 structural soundness, acoustical excellence and commitment, dedication and talent to make technical capabilities when properly updated. In Stage construction began in earnest during the the difference. Generations of opera 1989 the board secured the first parcel in the Capitol summer; opera presentations that fall included audiences will reap the rewards of your hard Theatre block. Philip E. Benton Jr., then president “La Boheme,” “The Barber of Seville,” “The Merry work, and that is something to cherish. of Ford Motor Co., agreed to chair the Opera House Widow” and “Aida,” starring Leona Mitchell. Capital Campaign in 1990. Under his leadership MOT ran a successful campaign to name the private grand The Masonic Temple and Fisher Theater years ended The 25th anniversary spring season presented the tier boxes; four years later, with the revenue raised in spring 1995, a season that featured Pascoe’s first full opera on the Detroit Opera House stage, by the campaign, the company was able to acquire production of “Don Giovanni” with Metropolitan “La Boheme,” starring and Helen the remaining parcels of the Capitol Theatre block. Opera stars Jeffrey Wells and Martile Rowland. A Donath. It was followed by ’s ballet, production of “Swan Lake,” perhaps the most beloved “,” Verdi’s “La Traviata” and In the fall of 1991 during a press conference prior ballet of all time, was choreographed by Detroit’s own Richard Strauss’ “Salome,” featuring Maria Ewing in to his return concert engagement, Luciano Pavarotti Jacob Lascu, and Puccini’s “Tosca,” starring Russian the title role. The 1996 fall season, aptly named made a surprising promise: He would return to soprano Maria Guleghina, concluded the season. “Building on a Dream,” included “Carmen” with Detroit and perform at the opening of the new Detroit MOT favorite Irina Mishura, a touring production of Opera House. The announcement brought the project “West Side Story” and a new educational program, to the attention of the wider public and provided a launched by Karen VanderKloot DiChiera, called tremendous boost to the fundraising campaign. Learning at the Opera House. It soon was winning national awards for its scope and content. In 1992, with a budget of $5.4 million, MOT was cited by the Ford Foundation as one of the most fiscally Above: David DiChiera and Karen VanderKloot DiChiera being filmed for local Michigan Opera Theatre offered its first dance season responsible arts organizations in the country. Along news coverage as the wrecking ball hits the Robert’s Fur Building to make at the Detroit Opera House in 1997 with performances way for the new opera house. Below: “La Boheme,ˮ one of MOT’s most with “Lucia di Lammermoor,” “Side by Side by popular productions. Left: DiChiera in front of the future Detroit Opera House. that included two special presentations by American MOT’s Operetta Workshop is one of a number of popular education ’s “Swan Lake.” programs available to young people to learn acting, singing and dancing. Here, a scene from a Gilbert and Sullivan operetta.

Ballet Theatre. In addition, there were Broadway Fund and provided the opportunity to raise the first touring productions of “A Chorus Line” and “Damn $14 million. Superstar tenor made his Yankees,” featuring Jerry Lewis. The 1997 American opera debut at the Detroit Opera season was packed: “Aida”; “Rigoletto”; “The Marriage House later that year in Massenet’s “Werther,” the of Figaro”; MOT’s first Wagner opera, “The Flying first American production to be webcast.

Dutchman”; and “The Magic Flute,” complete with set and by Maurice Sendak. The company marked its 30th anniversary season in Conductors Steven Mercurio, Klaus Donath and John 2001 in the top 10 of American opera companies, by Mauceri were featured at the podium. With spectacular virtue of MOT’s now $12 million budget. A yearlong programming, MOT was firmly ensconced in its celebration of was highlighted by H.S.H Princess Caroline of Monaco with David DiChiera in 2005, prior to Les Ballet de Monte Carlo’s command performance of “Romeo and Julietˮ at the new home. presentations of “La Traviata,” one of his most famous Detroit Opera House. works, and “Falstaff,” his final opera. The fall season 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

The spring season in 1998 opened with MOT’s also included a revival of the Armenian national first-ever staging of Massenet’s “Manon,” featuring opera “Anoush,” which had its American premiere theater since ‘West Side Story.’” The opera repertory her over to bondage, by composer Richard Danielpour Marcello Giordani and Ruth Ann Swenson, followed on the MOT stage in 1982. The production received also included John Pascoe’s production of “Don and Nobel Prize-winning novelist Toni Morrison, DAVID DICHIERA DAVID DICHIERA DAVID

| by Donizetti’s “The Elixir of Love” and Gershwin’s an outpouring of financial support from the Armenians Giovanni,” conducted by Steven Mercurio, and “Die starred soprano Denyce Graves in the title role. |

32 “Porgy and Bess,” starring Gordon Hawkins and for “Anoush” Committee and the hundreds of Fledermaus,” directed by longtime company friend 33 Marquita Lister. Having been one of the first opera Armenians and friends who contributed their time Bernard Uzan and conducted by MOT’s own Suzanne The 2005 opera season also included “Tosca,” “The companies to produce “Porgy and Bess” in 1975, and resources to the success of this production. Mallare Acton. There was also a “” Daughter of the Regiment,” “Norma” and a revival MOT presented a new production in 1998; throughout The spring season came to a close with Offenbach’s as well as MOT’s first production of Verdi’s “A Masked of “La Boheme.” The Kirov Ballet returned with “The its history the company has been a leader in seeking “The Tales of Hoffmann.” Ball.” Dance audiences enjoyed the Sleeping Beauty,” one of only three appearances in out and introducing African American operatic talent. American Dance Theater and a rare North American the United States. Michigan Opera Theatre and the Cleo Laine; the sopranos Kathleen Battle, Leona Renovation continued at the opera house, and 2002 appearance by the Kirov Ballet: the MOT stage city of Detroit also hosted OPERA America’s Opera Mitchell and Wilhelmenia Fernandez; baritone Gregg marked the opening of the Cadillac Café, located was the only one in Michigan large enough to Conference 2005: Diverse Voices, welcoming the Baker and tenor Vinson Cole were a few of MOT’s at the Madison Street entrance; the pub-like bistro accommodate the Russian company’s performance. world’s opera establishment to the restored Detroit featured artists. was opened to guests before curtain and after the Opera House and the city’s many other treasures. performance. The year came to a close with a visit 2004 saw two major developments. The first was the “Porgy and Bess” was followed by productions of from the legendary , performing “Swan completion of the Crowning Achievement Campaign, One of the highlights of 2006 was the opening of the “Turandot” starring Richard Margison and Alessandra Lake,” and Cincinnati Ballet’s “.” which allowed MOT to begin its final construction Ford Center for Arts & Learning at the Detroit Opera Marc and “Lucia di Lammermoor” starring , The year would also see MOT’s first production of phase — the six-story parking center and the House, a new space that enabled MOT to expand Fernando de la Mora and Evgeny Dmitriev. Le Ballet “Too Hot to Handel,” a -gospel version of the renovation of the office tower on the Broadway Street the Community Program and the Dance Department. de Monte Carlo presented “Romeo and Juliet”; a classic “” performed by Detroit’s Rackham side of the Detroit Opera House. The second was the The Ford Center, located on the Broadway side of special treat was an appearance by the president of Symphony Choir that has become a holiday tradition election of R. Jamison (Rick) Williams Jr. to serve as the opera house, consists of the Chrysler Black Box the company, H.S.H. Princess Caroline of Monaco. at the Detroit Opera House. MOT’s third chairman of the board of directors. Theater, a flexible performance space for intimate presentations; the Margo V. Cohen Center for Dance, Michigan Opera Theatre presented The Three The Michigan premiere of the new American opera After six years of preparation, MOT hosted the world the locus for all dance activities; the David and — Pavarotti, Placido Domingo and Jose Carreras — “Dead Man Walking,” by Jake Heggie, was a notable premiere of “Margaret Garner” on May 7, 2005, the Marion Handleman Classroom Center; the Lee and in July 1999 at Detroit’s historic Tiger Stadium, the production in 2003. ’s reported first world premiere to be presented on the Detroit Floy Barthel Costume Shop; and the Allesee Dance celebrated trio’s only North American appearance at the time that the new opera made “the most Opera House stage. The true story of a slave who and Opera Resource Library. that year. The concert launched MOT’s New Century concentrated impact of any piece of American music chooses to kill her own daughter rather than turn

Cyrano2007 Securing Future the

“Cyranoˮ in its Michigan Opera Theatre premiere, 2007. 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

The highlight of 2007 was MOT’s third world premiere: forced MOT to make a series of financial cutbacks. the production of David DiChiera’s magnum opus, Most significant to the public was the reduction from “Cyrano.” The grand romantic opera, with a libretto five opera productions a season to four. The company DAVID DICHIERA DAVID DICHIERA DAVID

| by longtime colleague Bernard Uzan, was a tour de soldiered on through 2009 with productions of “The |

34 force that inspired an outpouring of support and Elixir of Love,” the ever-popular “Carmen,” Sondheim’s 35 provided a smashing start to the season. The year also “A Little Night Music” and a critically acclaimed included “Turandot,” MOT’s first production of Mozart’s production of Verdi’s “Nabucco,” an opera not seen “The Abduction From the Seraglio,” Gounod’s “Romeo in Detroit since 1961. and Juliet” and “The Marriage of Figaro.” The season’s Facing the probability of bankruptcy in December 2011, He would transition into the position of artistic dance card included appearances by American There also were return visits from American Ballet Michigan Opera Theatre reached agreement with its director and serve in this capacity until 2016 to assist Ballet Theatre, Miami City Ballet and Ballet Folklorico Theatre and Grand Rapids Ballet; the modern dance lenders to cut the company’s long-term debt provided the transition to a new opera director. Tributes began: de Mexico as well as the Grand Rapids Ballet’s troupe Pilobolus performed at the opera house for the MOT pay $11 million by June 30, 2012. The Preserve The National Endowment for the Arts at the Kennedy production of “Where the Wild Things Are.” first time. “Too Hot To Handel” and “The Nutcracker” the Legacy Campaign was launched, raising $7 Center awarded him its Opera Honors, the nation’s returned for the holidays and the Children’s Chorus million with which the company negotiated a new most prestigious opera award. The next year featured Michigan Opera Theatre’s performed Jewish Czech composer Hans Krása’s lease, paid off its lenders and attained financial first production of Bellini’s “La Sonnambula,” Puccini’s dramatic “Brundibár.” stability. “I cannot overstate the importance of what In the fall of 1971, DiChiera and his young opera “La Rondine” and “Madama Butterfly,” “La Traviata” we’ve just achieved,” DiChiera said at the time. company planted the seed that produced the rebirth and a return engagement of “Margaret Garner.” Also With the economy starting to show signs of life, MOT of Detroit’s theater and entertainment district, one notable in 2008 was MOT’s newly formed Children’s rode out the recession in 2010 by hunkering down to With the economy beginning to improve and the of the largest in the nation at the turn of the 20th Chorus, which presented a full staging of the light meet expense and revenue goals and continuing a company’s restructured debt, DiChiera could look century. Equally important were his efforts to present children’s opera “The Maker of Illusions.” Chorus reduced performance schedule. Cost-cutting trimmed with optimism toward the future — one that had to MOT performances that reflected its community, members gave concert performances and served as MOT’s budget from $12.5 million to just under include a retirement strategy and laying the ground- notably with the productions of “The Haunted the in-house children’s chorus for all main-stage $10 million, but the company was crippled by an work for the next, financially stable, era of his Castle,” “Anoush” and “Margaret Garner.” production requirements. $18 million bond debt on the opera house and the beloved opera company. parking center. In the first era of the opera company, the names The nationwide economic crisis that began in late “An Opera Hero Plans His Exit” was the headline in David DiChiera and Michigan Opera Theatre are 2008 along with the bankruptcies of General Motors the Detroit Free Press on Feb. 3, 2013. After nearly 50 nearly synonymous. He has been the heartbeat of and Chrysler — two major corporate supporters — years at the helm, DiChiera announced his retirement. opera in Detroit for nearly 50 years. Luciano Pavarotti A Constellation of Stars

“As I think back over my 50 years of producing operas and musicals, I am flooded with memories of the incredible artists that I had the pleasure of working with, some wonderful and some less than easy to work with. But all in all, I wouldn’t trade any of those memories for the thrill of working with the most exciting and talented artists in the world.” - David DiChiera

Sopranos Leah Partridge Stefano Algieri Jon Villars Mark Rucker Rosalind Elias Many of opera’s superstars offered their Jan Albright Francesca Patané Fabio Armiliato Jonathon Welch Christopher Schaldenbrand Anne Ewers Pamela Armstrong Susan Patterson Roberto Aronica Jon Fredric West Andrew Schroeder William Farlow talents in the support of David DiChiera Roberta Peters Vladimir Atlantov Joseph Wolverton Georgi Selezneev Carlisle Floyd Ainhoa Arteta Ashley Putnam Antonio Barasorda Jianyi Zhang Kevin Short Leonard Foglia and Michigan Opera Theatre, with none Carmen Balthrop Sondra Radvanovsky Rene Barbera Michael Smart Lou Galterio more generous than his great friends Priscilla Baskerville Roma Riddell Lando Bartolini Basses & Henk Smit Greg Ganakas Kathleen Battle Cassandra Riddle Tito Beltran Andrew Smith David Gately Luciano Pavarotti and Dame Joan Sutherland. Stefania Bonfadelli Jennifer Rowley Don Bernadini Theodore Baerg David Rae Smith Marek Grzesinski Gwendolyn Bradley Theresa Santiago Rockwell Blake Gregg Baker Paulo Szot Hebert Pavarotti was a major contributor to The Kathleen Brett Andrea Bocelli Ron Baker Italo Tajo Louis Johnson Detroit Opera House Project, bringing the Rachel Willis-Sørensen Thomas Barrett Todd Thomas Matthew Lata Tiziana Caruso Pamela South Robert Brubaker Kevin Bell Giorgio Tozzi Kenny Leon attention of the public to the project at William Burden Victor von Halem Jay Lesenger Sharon Christman Maria Spacagna José Carreras Richard Bernstein Jeffrey Wells Rhoda Levine large by promising to sing at the opening Marianna Christos Stephanie Sundine Charles Castronovo Michele Bianchini Stephen West Joshua Major of the new opera house, donating large Andriana Chuchman Joan Sutherland Vinson Cole Burak Bilgili Yalvin Zhang Lotfi Mansouri Patricia Craig Ruth Ann Swenson Arturo Chacón Cruz James Butler Arthur Masella amounts of money to the cause, and by Darina Takova Yu Qiang Dai Carlos Chausson Conductors Christopher Mattaliano Tracy Dahl Maryanne Telese Arthur Davies John Cheek Kazem Abdullah Gian Carlo Menotti making various appearances around Lisa Daltrius Katherine Terrell Patrick Denniston Philip Cokorinos Dejan Miladinovic Nova Thomas Ian DeNolfo Richard Cowan Suzanne Mallare Acton Sal Mineo Detroit in performances designed to raise Doralene Davis Guiping Deng Indra Thomas Tonio DiPaolo Kenneth Cox David Charles Agler Dominic Missimi money for the project. Dame Sutherland Heather Thomsom Richard Di Renzi Eduardo del Campo Franz Allers Michael Montel Ghena Dimitrova Vivian Tierney Plácido Domingo Mark Delavan Howard Arman Nicholas Muni officially opened the Detroit Opera Cristina Gallardo Domas Leontina Vaduva Ruben Dominguez Matteo de Monti Raffi Armenian Tim Ocel House as she cut the ribbon at the Gala Helen Donath Sylvie Valayre David Eisler Justino Diaz Christian Badea Gerald Papasian Grazia Doronzio Benita Valente Clifton Forbis James Dietsch Richard Bonynge John Pascoe Performance on opening night. Jenny Drivala Bruce Ford Donato DiStefano Richard Buckley Charles Nelson Reilly Jane Eaglen Anna Vikre John Fowler Harry Dworchak William Byrd James Robinson Kallen Esperian Carroll Freeman Brent Ellis Giuliano Carella Ellen Douglas Schlaefer Maria Ewing Ealynn Voss Jesus Garcia Pablo Elvira Glen Clugston Arthur Allen Seidelman 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge Tiziana Fabbricini Yoko Watanabe Marcello Giordani Andrew Foldi Aaron Copland Michael Shell Wilhelmenia Fernandez Janet Williams Massimo Giordano Nmon Ford Anton Coppala Harry Silverstein Elena Filipova Sheryl Woods Allan Glassmann Richard Fredricks John Dankworth Andrew Sinclair Renée Fleming Stella Zambalis Jerry Hadley Haijing Fu John DeMain Mark Streshinsky Joan Sutherland Ai Lan Zhu Ben Heppner Michael Gallup Klaus Donath Italo Tajo Robin Follman Cesar Hernandez Jake Gardener Antal Doráti Albert Takazauckas

DAVID DICHIERA DAVID Stephanie Friede DICHIERA DAVID

| | Mechthild Gessendorf Mezzo-Sopranos Taro Ichihara George Gaynes Leslie B. Dunner Lara Teeter 36 Barbara Gibson Kate Aldrich Kristjan Johannson Arthur Fagen Tazewell Thompson 37 Graciela Araya Paul Austin Kelly Greer Grimsley Mark Flint Bernard Uzan Sheri Greenawald Bianca Berini John Keyes Frank Guarrera Mark Gibson Dona Vaughn Jan Grissom Frances Bible Gregory Kunde Nathan Gunn Jane Glover Sara Ventura Maria Guleghina Eric Halfvarson Evans Haile Brent Wagner Janice Hall Brenda Boozer Jeffrey Lentz Thomas Hammons Henry Holt Brenda Harris Jorge Lopez-Yanez Gordon Hawkins Jacek Kasprzyk Broadway and Film Constance Hauman Gail Dubinbaum Fred Love Steven Hendrickson Cal Stuart Kellogg Edie Adams Cynthia Haymon Mignon Dunn John Mac Master Frank Hernandez Kurt Klippstatter Brent Barrett Faith Esham Richard Margison Stefan Lano Marshall Borden Karen Hunt Judith Forst Ricardo Massi André Jobin Steven Larsen Eddie Bracken Karen Huffstodt Vivica Genaux Ermanno Mauro Eric Johnson Tania León Peabo Bryson Elizabeth Hynes Susan Graham James McCracken Kyle Ketelsen David Chaney Céline Imbert Denyce Graves José Medina Mariusz Kwiecien Stephen Lord Imogene Coca Sumi Jo Muriel Costa-Greenspon David Miller Luis Ledesma Patti Cohenour Camellia Johnson Eugenie Grunewald Salvador Novoa C.Y. Liao Randolph Mauldin Kelly Kaduce Jennifer Jones Stephen O’Mara Charles Long James Meena David Cryer Marquita Lister Kathleen Hegierski Francisco Ortiz Forrest Lorey Dom DeLuise Daniela Longhi Diane Kesling Antonello Palombi Ricardo Lugo Steven Mercurio Nancy Dussault Mary Callaghan Lynch Margaret Lattimore Luciano Pavarotti Robert McFarland Edoardo Müeller Diane Frantantoni Catlin Lynch Scott Piper James Donato Renzetti Noel Harrison Emily Magee Irina Mishura Vladimir Popov George Massey Simon Jones Catherine Malfitano Cynthia Munzer Eleazar Rodriguez Jeffrey Mattsey Stewart Robertson Alessandra Marc Milijana Nikolic James Schwisow Michael Mayes Louis Salemno Zale Kessler Ana Maria Martinez Marion Pratnicki Rico Serbo Kevin Maynor William Fred Scott Beverly Lambert Johanna Meier Neil Shicoff James Morris Patrick Summers Cleo Lane Sarah Joy Miller Anita Rachvelishvili Timothy Noble Willie Anthony Waters Stephen Lehew Mary Mills Lyudmila Shemchuk Antonio Siragusa Robert Orth Steven White Rebecca Luker Leona Mitchell Kathleen Segar Craig Sirianni Louis Otey Richard Woitach Roddy McDowell Leigh Monroe Tichina Vaughn Andrew Smith David Parsons Sal Mineo Latonia Moore Victoria Vergara Noah Stewart Earle Patriarco Directors Juliet Prowse Pamela Myers Cesar Antonio Suarez James Patterson Christopher Alden Woody Romoff Carol Neblett Robert Swensen Mark Pedrotti David Alden Gary Sandy Earnestine Nimmons Giorgio Tieppo Rodion Pogossov Patrick Bakman Martha Schlamme Yannick Muriel Noah David Daniels Cesar Ulloa Marian Pop Sandra Bernhard Tony Tanner Maureen O’Flynn Anthony Roth Constanza Andreas Poulimenos Ned Canty Leslie Uggams David Trudgeon Carlo Ventre Ken Cazan Elizabeth Parcells Ernesto Veronelli Mario Corradi Kyudo Park Tenors Richard Versalle Ron Daniels Cheryl Parrish Paul Spencer Adkins Eduardo Villa Charles Roe Dorothy Danner Total cost to renovate, restore and complete the Detroit Opera House The $70,000,000 HouseFacts and Comes Figures to Italian Renaissance Life: style Crane’s original Capitol Theatre was appointed in the “opera style,” with crystal chandeliers, frescoes, brass fixtures, and marble stairways and drinking fountains.

Artisans galore Painters, plasterers, plumbers, electricians, and riggers were among the skilled craftspeople, tradesmen and technicians needed to complete the renovation and restoration. 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

Pavarotti says, I will DAVID DICHIERA DAVID DICHIERA DAVID

open the house for | |

38 you DiChiera saw to it that no less 39 an authority than operatic superstar Luciano Pavarotti would certify the bona fides of the acoustics in what would become Detroit’s new opera house. “We had already bought the theater and it was in total ruins but he was here to do the big concert at Tiger Stadium, so I asked him to come More than Paint intensive and ‘just give me your opinion of 500 gallons of paint and 10,000 hours what you think.’” went into painting the Detroit Opera House. Paint historian Steve Seebohm researched the original color scheme and established the palette of royal blue, cream, gold and a deep red called Designed by C. Howard “Old Italian Rose.” These colors were Crane Crane was the architect of the Capitol Seating capacity applied throughout by Grosse Pointe’s Theatre, which would eventually become The Detroit Originally seating 4,250, the Detroit Eugenio Paint Co. Opera House. It was built in 1922. He designed at Opera House now seats 2,700. Its stage least 250 theaters during his career, including Detroit’s is the largest in Michigan. Madison Theatre (1917), (1919), the State Theatre (1925), and the (1928). ON “FOUR SONNETS”

With verses by Edna St. Vincent Millay For soprano and piano Composed in 1964/65 by David DiChiera

dna St. Vincent Millay’s popularity as a poet may have had as much to do with her person as it did her poetry: She was known for her riveting readings and performances, progressive political stances, frank portrayal of both hetero- and homosexuality and, above all, her embodiment and description of new kinds of female experience and expression. “Edna St. Vincent Millay,” notes her biographer Nancy

Milford, “became the herald of the New Woman.”

Millay wrote the following four The sonnets were first performed sonnets between 1917 and at a concert devoted to DiChiera’s music at Oakland University in 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge 1922. In the summer of 1964, 1965. The soprano was Roma David DiChiera, a young professor Riddell, a Canadian who was a at Oakland University, was given a musical and theatrical artist and volume of her poetry and fell in DAVID DICHIERA DAVID DICHIERA DAVID

principal singer in the decade of | | love with her work. Suddenly, he 40 DiChiera’s “Overture to Opera” 41 says, he found himself “writing productions. music to her rapturous musings, composing as if in a fever dream.” “After that, I was so absorbed in running a music department and When he “awoke,” he says, he establishing an opera company realized he didn’t have the rights that I gave very little thought to to the work. “So then I wrote to promoting my music. But in 1977 I Edna St. Vincent Millay’s publisher brought the very talented Carmen and the publisher responded that Balthrop to sing Micaela in my they didn’t have the rights. The publisher said I would production of ‘Carmen.’ She saw the sonnets on my have to contact her sister for permission. piano and decided she wanted to sing them in a recital she was giving at the Kennedy Center in “But her sister refused, saying she thought that I Washington, D.C., in 1978.” had chosen the sonnets unwisely, that by focusing on her past loves the poems put her sister Edna in a In his review, Theodore W. Libby Jr. of The Washington negative light.” Star called the work “beautifully crafted and warmly expressive of the poetry.” Paul Hume of The Washington In desperation, DiChiera asked his then-fiancée, Karen Post called DiChiera “a composer with great sensitivity VanderKloot, a student at nearby Bennett College, to and keen awareness of the beauties for the voice.” call on Millay’s sister and beg her to change her mind. “I said, ‘Go and visit her and sweetly tell her Since then, “Four Sonnets” has been widely performed, that these sonnets are very special to you.’ She did most notably by the distinguished soprano Helen and the sister relented.” Donath. She and her husband, conductor and pianist Klaus Donath, have performed the numerous times in North America and Europe, Four sonnets by Edna St. Vincent Millay including and the .

“In August of 2002 I was at the Rockefeller Villa in I, Being Born a Woman Lake Como, Italy, working with composer Richard I, being born a woman and distressed Danielpour, who I had commissioned to compose By all the needs and notions of my kind, the opera ‘Margaret Garner,’ when I learned that Am urged by your propinquity to find Helen was doing my ‘Sonnets’ in Salzburg,” DiChiera Your person fair, and feel a certain zest says. “It was so exciting I had to go. It was one of To bear your body’s weight upon my breast: the great thrills of my life … to hear my music in a So subtly is the fume of life designed, program that included Brahms, Schumann To clarify the pulse and cloud the mind, and Mahler. And leave me once again undone, possessed. Think not for this, however, the poor treason “Over the years I have been so fortunate to have Of my stout blood against my staggering brain, these songs interpreted by so many wonderful sopranos, and now The Kresge Foundation has made I shall remember you with love, or season it possible to record them so that they can enjoy a My scorn with pity, —let me make it plain: wider distribution. I find this frenzy insufficient reason For conversation when we meet again. “I am delighted to add another wonderful artist to

that roster. Soprano Leah Partridge was, after an extensive search, my choice to create the role of Roxane in the world premiere of my opera ‘Cyrano’ and her beauty and expressivity was breathtaking. To have my musical interpretation of Millay’s extraordinary sonnets brought to life again with 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

Leah’s artistry is such a pleasure.” DAVID DICHIERA DAVID DICHIERA DAVID

| |

42 “Four Sonnets” on CD 43

Tucked into the back cover of this book is a compact disc of David DiChiera’s composition, “Four Sonnets,” recorded for this monograph on September 28, 2013 at OPERA America headquarters in New York City, with pianist Craig Ketter accompanying soprano Leah Partridge.

Leah Partridge has performed in operas and as a concert soloist across the United States and in Europe. She premiered the role of Roxane in David DiChiera’s opera What Lips My Lips Have Kissed, and Where, and Why “Cyrano” and has recently performed at The Metropolitan What lips my lips have kissed and where, and why, Opera as the First Niece in “,” as La I have forgotten, and what arms have lain Charmeuse in “Thais” and as Marie in “La Fille du Regiment.” She also is an assistant professor of voice at Kennesaw Under my head till morning; but the rain State University. Is full of ghosts tonight, that tap and sigh Upon the glass and listen for reply, Craig Ketter has performed as a soloist and chamber And in my heart there stirs a quiet pain musician throughout the world, with a repertoire that includes major piano concertos by Beethoven, Brahms, For unremembered lads that not again Tchaikovsky and Rachmaninov. He also has taught master Will turn to me at midnight with a cry. classes throughout the United States, served as a Thus in the winter stands the lonely tree, guest professor in several institutions and is head of Nor knows what birds have vanished one by one, the piano faculty at the American Festival for the Arts in , . Yet knows its boughs more silent than before; I cannot say what loves have come and gone, I only know that summer sang in me A little while, that in me sings no more. Time Does Not Bring Relief Time does not bring relief; you all have lied Who told me time would ease me of my pain! I miss him in the weeping of the rain; I want him at the shrinking of the tide; The old snows melt from every mountain-side, And last year’s leaves are smoke in every lane; But last year’s bitter loving must remain Heaped on my heart, and my old thoughts abide. There are a hundred places where I fear To go, —so with his memory they brim. And entering with relief some quiet place David DiChiera’s “Four Sonnets” was recorded on September 28, Where never fell his foot or shone his face 2013 in the studio of OPERA America’s New York City headquarters. I say, “There is no memory of him here!” Left to right: pianist Craig Ketter, soprano Leah Partridge, composer David DiChiera. And so stand stricken, so remembering him.

2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

DAVID DICHIERA DAVID DICHIERA DAVID

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44 45

Loving You Less Than Life, a Little Less Loving you less than life, a little less Than bitter-sweet upon a broken wall Or brushwood smoke in autumn, I confess I cannot swear I love you not at all. For there is that about you in this light— A yellow darkness, sinister of rain— Which sturdily recalls my stubborn sight To dwell on you, and dwell on you again. And I am made aware of many a week I shall consume, remembering in what way Your brown hair grows about your brow and cheek, And what divine absurdities you say: Till all the world, and I, and surely you, Will know I love you, whether or not I do. FINDING MY TIMING… This late in my career

BY DAVID DICHIERA

n 1982, I brought the incomparable Cleo Laine to Michigan Opera Theatre for her American stage debut in Sondheim’s “A Little Night Music.” As I prepare for the world premiere of my opera, “Cyrano,” I can’t help but think of the wonderful and poignant scene in which Cleo (opposite baritone Ron Raines), as Desiree Armfeldt, a successful but aging actress, questions her attempt to rekindle an old affair in the very poignant “Send In The Clowns.” She sings “Isn’t it rich, isn’t it queer, losing my timing so late in my career.” Taking her cue, I, like Desiree, have returned to rekindle the flame of an old love — my love of composing.

“…Sure of my lines, but no works by Sondheim “A Little Night Music” (1983), “Sweeney 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

one is there.” Growing up in Los Angeles — Todd” (1984) and “Follies” studying piano, composition (1988), to the operatic repertoire. and musicology at UCLA, I Aside from revivals, however, DAVID DICHIERA DAVID DICHIERA DAVID

the appearance of | |

never imagined my career 46 would focus on nurturing opera new operas in the 47 companies. Instead, I dreamed American musical of being a concert pianist scene was rare. and expressing my emotions For example, in through my own music. But, 1979, the year it was the 1960s, a time when in which I was writing music in any style other than atonal, serial elected president of OPERA America, or even electronic was considered irrelevant and we learned that there was only one “The work comes into the world at redundant in academic circles, so I felt compelled premiere of a new work in all of to abandon my muse. There I was, a neo-romantic North America and that by a small an undetermined hour, from a still totally out of step with what was “in.” company based in Toronto. The barren operatic landscape led us to unknown, but it comes inevitably.” Knowing, as Desiree Armfeldt, that my “Love” and establish a new initiative entitled “Opera for the ’80s and Beyond.” – Giacomo Puccini I were simply out of sync, I placed my composing on the back burner, and instead turned to teaching, This fund was devoted entirely proselytizing, cajoling and leading the charge to to encouraging opera bring opera to Detroit, Orange County and Dayton companies to take on the — the communities I so proudly served. As an risk of commissioning new NEED impresario, I felt especially rewarded (perhaps a works. Within a decade, vicarious pleasure) to be in a position that enabled dozens of new works me to revive neglected American works such as emerged, including such Blitzstein’s “Regina” (1977), Copland’s “The Tender seminal works as “Nixon in Land” (1978) and Gruenberg’s “Emperor Jones” China,” “McTeague” and (1979) as well as introduce musical theater, especially “The Secret Garden.” While this initiative certainly served to improve the whose exterior life was fearless and outgoing with state of opera in America (as it related to expanding exciting esprit and panache, but who inside suffered the repertoire) an even greater challenge stood a sense of overwhelming inadequacy which denied before our industry. At that time, it became apparent him from achieving personal fulfillment. “Il m’interdit that the demographic of our audiences did not reflect le rêve d’être aimé” (“I am denied the dream of being that of our communities, including the dramatically loved”), he confesses to his friend Le Bret. Soon after, changing face of our urban centers. To better serve I composed the brief prelude that presents the our communities, and for our every survival, it was contrasting themes reflective of Cyrano’s outer and vital that we encourage new works that more inner life. As for Roxane, I was fascinated by the directly involved the large African American, Latino, evolution of her character, and the attendant musical For the past seven years Cyrano and I Asian and other diverse constituencies in our cities. possibilities that would evoke the transition from a “ ˮ To this end, I enthusiastically served as chairman of frivolous “précieuse,” absorbed with her own beauty have been intimate companions. a new initiative, again under the aegis of OPERA (and that of handsome Christian), to a woman America, that encouraged opera companies to reach matured by sadness and an understanding of true love. out and commission artists from these diverse communities. Entitled “Opera for a New America,” “…Isn’t it bliss?...” the program brought forth works reflective of the For the past seven years “Cyrano” and I have been history, music, literature and dance of various intimate companions. Our secret life together took cultures. “Opera for a New America” not only gave place in early mornings before meetings, or late at us exciting new works, but ultimately served to build night after performances on rehearsals. On a few bridges that at last linked opera to America’s rich occasions, I had the opportunity to escape the daily

diversity. Here in Detroit, my desire to build bridges challenges of running an opera company to focus into our extensive African American community led my full attention on my opera. Through the generosity me to not only nurture many African American of friends, I found myself writing in such diverse artists, but to also present productions such as surrounds as Orange County, Manhattan, and even “Treemonisha,” “Porgy and Bess,” and more recently a half-restored castle in Scotland. I am especially the world premiere of “Margaret Garner.” grateful to Karen DiChiera and our daughters, Lisa 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge and Christina, for their patience and encouragement. “…Just when I’d stopped opening doors…” So what does all this operatic history have to do with It has been a fascinating journey collaborating with my “Cyrano”? Well, during these decades of intense Bernard Uzan who crafted a libretto that is drama- DAVID DICHIERA DAVID DICHIERA DAVID

| | operatic activity on my part, the secret composer in turgically effective and focused in its retelling of the 48 49 me observed, with growing interest, a musical play. I am especially grateful to Maestro Mark Flint environment that now allows composers to draw who encouraged me in times of depression and from all styles and past periods, as well as current insecurity, and who has provided an orchestration trends (including popular and ethnic music). With that so clearly reflects my intentions. And, of course, this, I felt that perhaps I could find the courage to I am so pleased that my colleagues Robert Driver in return to my own muse without fear of rejection. Philadelphia, and Robert Heuer in Miami have At last, I felt liberated to write my own opera. demonstrated their commitment to “Cyrano” by collaborating with Michigan Opera Theatre in the “…Are we a pair?...” creation of this beautiful production by John Pascoe, But an opera on what subject? Although the answer and presenting the opera as part of their seasons. to this question wasn’t immediately clear, what I did know is that it should be a great love story — one When I visited Robert Driver in the summer of 2005 that might inspire me to write music that would to acquaint him with the opera, he stopped me after provide even deeper emotional resonance to the minutes at the piano and exclaimed, “David, why passions of its characters. Enter Bernard Uzan, an have you been wasting your life running opera extraordinary personality, and greatly talented companies?” The comment took me aback, but then, actor, writer, and director who came to me one day like Desiree Armfeldt in contemplating her career, I after a rehearsal and asked if I had ever considered accepted the fact that like Cyrano, I have had, for “Cyrano” as an operatic subject. I had not, so he the past four decades, a very public outer life of offered to come to my home and take me through it. community activities and am now ready to return to His love for the play was palpable, and his delivery my youth affair with my inner life. of the incredibly beautiful poetry was especially Soprano Leah Partridge as Roxane, tenor Jose Luis Sola moving. I was drawn to the character of Cyrano as Christian and baritone Marian Pop in the title role of Cyrano in MOT’s 2007 production of “Cyrano.ˮ PHILADELPHIA’S “CYRANO”: Actually, They Do Make ’Em Like That Anymore

BY ANNE MIDGETTE, February 15, 2008

HILADELPHIA – It’s a story of love deferred, love lived by proxy, love finally realized late in life. It’s the story of “Cyrano de Bergerac,” of the prominently proboscised hero of ’s late-19th-century play, doomed to unrequited love. But it is also the story of composer David DiChiera and his opera, “Cyrano.” For the story of “Cyrano” — which had its world premiere in Detroit in October and is now at the Opera Company of Philadelphia through Sunday — is itself an old-fashioned tale of love and late flowering. DiChiera is 72, and “Cyrano” is his first full-length opera. But he has spent his whole life loving opera and finding ways to get closer to it — as a student, as a musicologist and professor specializing in 18th-century composers, and as an administrator. 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

DiChiera is best known as the founder of Michigan this kind of music was not just old-fashioned but Opera Theatre in Detroit, which he created out of downright reactionary. whole cloth in 1971. He also founded Opera Pacific in DAVID DICHIERA DAVID DICHIERA DAVID

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California and served as president of the national “I would bring in my heartfelt music,” he said with 50 service organization OPERA America. When he took a slight smile, sitting in a Philadelphia restaurant 51 over at OPERA America in 1979, almost nobody was before Wednesday’s “Cyrano” performance, “and writing new opera; and he created a grant program my teachers, people like Lukas Foss, would say, for new work, still in existence today, that has helped ‘Well, yes, but you could do this, and that…. ‘ They fuel a veritable American opera renaissance. You could were trying to make it more like what everybody say that he has spent his whole career creating the else was doing.” requisite preconditions to write an opera of his own. Composing, it seemed, was to remain a private Opera is, fundamentally, an old-fashioned art. And pleasure. DiChiera expressed his love of opera in DiChiera is an old-fashioned composer. Debonair, other ways, like creating a new 2,700-seat home for with crisp, white hair and a clipped mustache, he Michigan Opera Theatre in the 1990s. But after that repeatedly evokes the description of “gentleman” project was completed, his dream of writing an opera, from people who might normally not use the term — in a climate more open to new opera and to a variety such as Marc Scorca, his current successor at OPERA of musical styles, seemed within reach. America, who calls him both “a pioneer and a dynamic visionary,” as well as “beloved in our field.” Philosophically, DiChiera is not opposed to ; What DiChiera loves about opera is its potential for he says he might well use it in another opera about verbal and melodic expression — at least that can a different subject. “Opera is theater,” he says — be inferred from “Cyrano,” with its ravishing whatever musical style contributes to the expression harmonies, arching ensembles, full-blooded arias. of the drama is there for a composer to use. But on the evidence of “Cyrano,” there is no question In the late 1950s and ‘60s, when DiChiera was that he loves the rich, florid harmonic language of

An embarrassing moment in Act I, Scene I of “Cyranoˮ studying composition in an environment dominated Massenet or late Puccini. DiChiera did not orchestrate as Cyrano banishes the actor Montfleury. by serialism and experiments in electronic music, the piece himself — short on time, he worked with the conductor and orchestrator Mark Flint — but the musical density of the score is the result of his conception.

“Cyrano” is a new opera that feels old. What is interesting is that it does not feel “neo”: the music is melodious and tonal, but generally involving; evocative of the past, but not openly derivative. Nor is it easy. On Wednesday night in Philadelphia, the orchestra under Stefan Lano audibly struggled in places (and particularly in the brass) with its evocative solo lines.

The opera gives all its performers, and particularly its singers, a tremendous amount to do. By the third performance Wednesday, fatigue was audible in a gravelly quality from the baritone Marian Pop in the title role, although he rallied in the later acts; and in the loss of color and body from the higher register of the soprano Evelyn Pollock, visually well cast as the lovely Roxane. Stephen Costello — a tenor about

whom there is already much buzz in the opera world — gave indication of promise as Christian, the handsome but stupid lover who enlists Cyrano’s poetic aid to win Roxane’s love. Unlike many operas, this one started slow and got better: the balcony scene in Act 2, studded with harp runs and the stars 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

of flute tones, was a highlight, and the final scene an appropriate climax.

DiChiera’s late-blooming composing career raises DAVID DICHIERA DAVID DICHIERA DAVID

| | the question of what it means to love opera. Everyone 52 53 in the field gives much lip service to the idea that we want new operas. Yet opera as it is appreciated by most of its fans is not a new art; those who define themselves as opera-lovers are more likely to embrace Puccini and Wagner than the most prolific American opera composers of our time, (“,” “”) and Philip Glass (who has written more than 20 operas, most recently “Appomattox”). Where new music is experimental and cutting-edge, opera is thought of as big and buxom and romantic, and the meeting of the two is often an uneasy fusion, in terms of its artistic value and in terms of its resonance with the public.

DiChiera is notable in that his approach is completely without pose. He has written an opera that fits any opera-lover’s definition, and he is only minimally concerned that it is not anyone’s definition of progressive. Its conservatism might make it a difficult work to champion. But it is utterly sincere, and affecting: a love story that comes from the heart.

Anne Midgette’s review appeared on February 15, 2008, in The Conductor Mark Flint, composer David DiChiera, soprano Philadelphia Enquirer and is reprinted here with permission of PARS. Leah Partridge (Roxane). REINVENTING AN ART FORM Opera for the ’80s and Beyond BY DAVID DICHIERA

David DiChiera was president of OPERA America from 1979 to 1983, and was chairman of the Opera for the ’80s and Beyond committee and, later, the Lila Wallace-Reader’s Digest Opera for a New America committee, from 1984 “When I’m casting a role and there are two to 1992. DiChiera was the general director of Michigan Opera Theatre and Opera Pacific when he wrote this essay in 1992. people that are equally talented, I will choose the person of color because opera needs to t seems hard to imagine that in 1982 … the production of new works by opera companies in North become completely integrated in terms of America was a rare occurrence. A perusal of OPERA America’s schedule of performances for the … diversity.” 1992-93 season lists two dozen world premieres to be given by 16 member companies. What a contrast to the state of affairs in 1982, when there was a total of four new works by then-living composers presented -David DiChiera from our total membership of 87 opera companies.

The operatic art form, unlike had a deep and committed

2013 Kresge Eminent Artist 2013 Kresge dance, theater, the visual interest in the need to stimulate Eminent Artist 2013 Kresge

arts and to some extent the the creation of new works. symphony, was almost exclusively a repetition of In our conversation, it was clear DAVID DICHIERA DAVID DICHIERA DAVID

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works of the past, and primarily that Howard felt that some of 54 pre-1900. Naturally, we all the most creative work was 55 lamented that an art form taking place outside the opera based solely on the past was in world. I was absolutely excited danger of eventual extinction that he agreed with me that if it did not evolve and renew it was necessary to effect a itself into the present. As change within the opera field producers and directors of and not let opera companies opera companies we acknowl- be “end run” by the creation of edged the dilemma, but felt the new music theater within David DiChiera with Denyce Graves, the star of Michigan rather paralyzed in attacking Opera Theatre’s “Margaret Garner.ˮ MOT supporter Betty other fields, for that would the problem. 1982 was the Brooks is also shown, left, at the gala opening of the serve to accentuate even more third year of my term as Detroit Opera House, 1996. the atrophy current within president of OPERA America our industry. and while we had made substantial progress in establishing initiatives in education and membership Because there was so little consensus among the expansion, the solution to engendering more new membership about how to approach a problem of this works still loomed as an imponderable. magnitude, we decided to hold an intensive three-day forum to debate the issue and, hopefully, begin to It was in the summer of 1982, near the end of my make a difference. The Detroit Conference that took term as president, that our then-Executive Director place Aug. 26-28, 1982, was probably one of the most Martin Kagan brought me together with Howard exciting events in my career. We brought together Klein of the Rockefeller Foundation at an OPERA a fascinating mixture of composers, conductors, America meeting in Seattle. Through previous playwrights, stage directors and general directors of discussions, Martin had ascertained that Howard opera companies — representing an incredible array of perspectives, opinions and attitudes both positive of representatives of member companies to sell the and negative and every shade in between. program, answer any questions and allay any doubts before the project came up for vote. The agenda The debate was heated and included lots of grand- was structured so that the presentation of Opera for standing, but our facilitators, Tom Burns and Larry the ’80s and Beyond became the very last item of Hirschhorn, did a great job leading and structuring business at the end of the conference. the proceedings. Only once near the end of the second day, when it was imperative that we determine My last act as president was to guide the discussion some priorities for action for the final day, did chaos period by first giving critics an opportunity to proclaim threaten to abort the process, and our facilitators that “we should concentrate on second productions called on me to step in and get things back on track. of existing works” and that “giving large grants will While there were many possible solutions and tear apart the organization,” then summarizing the possible approaches that were valid, we prioritized value of this unique initiative and finally calling for and identified three needs which OPERA America the vote. The rest is now history. should address.

First, we had to admit that as a group, those of us who were responsible for the repertoire were not exposed to and aware of what was happening creatively outside our narrow world of opera.

Second, opera companies should be given financial incentives to take risks, to bring artists together to develop new ideas and works and, most important, to understand that we need not necessarily produce all the projects we experimented with. 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

And finally, large amounts of grant support were essential to help companies produce those new works that were deemed worthy. Our challenge was to strike while the iron was hot, and to take DAVID DICHIERA DAVID DICHIERA DAVID

| | advantage of the lucky circumstance that we had 56 57 a foundation that was impatient to work with us.

With Opera America’s annual conference just a few months away, Martin, Howard and I set out to structure the various components of a program that would be acceptable to the Rockefeller Foundation and also be approved by a membership that had had little time to be involved with the evolution of a project which would turn out to be the largest initiative in the organization’s history. The greatest possible obstacle for ratification was the implemen- tation of a large-scale grantmaking program that might tend to place companies in competition with one another and create a negative dynamic within an organization which had heretofore disbursed minimal funding. Our solution, while perhaps not ideal, was to create an arms-length panel of qualified professionals unaffiliated with Opera America companies that would decide which works should receive major production grants.

My strategy for the annual conference, in December Opening night photo of the team behind “Margaret Garner.” Clockwise, from left: Richard Danielpour, 1983, was to appear personally at various meetings David DiChiera, Toni Morrison, and Kathleen Danielpour. Denyce Graves starred in the title role of “Margaret Garner” when it premiered at the Detroit Opera House. THE CREATION OF “MARGARET GARNER”

BY SUE LEVYTSKY

Composer: Richard Danielpour Librettist: Toni Morrison

World premiere: May 7, 2005, at the Detroit Opera House Subsequent performances by co-commissioners in July 2005 and Opera Company of Philadelphia in February 2006 “

always believed that when we opened the Detroit Opera House that our first world premiere should celebrate and pay homage to the African American experience,” says David DiChiera, recalling the opening night of the internationally significant work, “Margaret Garner.”

2013 Kresge Eminent Artist 2013 Kresge Perhaps the most-heralded production “Denyce was here at that time, 1999, Eminent Artist 2013 Kresge

of DiChiera’s legendary career, singing opposite Andrea Bocelli in “Margaret Garner” — in its creative MOT’s production of Massenet’s team, casting, direction and produc- ‘Werther,’” DiChiera says. “She brought DAVID DICHIERA DAVID DICHIERA DAVID

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tion — is the summation of DiChiera’s up the subject of the real Margaret 58 vision for diversity on the stage. Garner as her friend, the composer 59 “We’ve been dedicated at Michigan Richard Danielpour, was very interested Opera Theatre to nurturing and in Toni’s Morrison’s novel of the subject, discovering African American talent ‘Beloved.’ Coincidentally, my daughter and furthering their careers by Christina had brought the book to my putting them on stage. And for our attention, as she knew I was looking audiences, it’s important for people for an interesting subject for an to see themselves in an art form. opera and I hoped to do one about That was the reason I produced an African American.” ‘Margaret Garner,’ with Toni Morrison writing the libretto,” DiChiera said in an interview with Time.com. “Margaret Garner” is based on the true story of a “It’s a vehicle for incredible, talented artists, particularly runaway slave in pre-Civil War Kentucky who killed Denyce Graves and others we helped launch through a daughter rather than return her to . She those productions.” became the high-profile defendant in a trial arguing whether the crime involved represented murder or the Overture to Development destruction of property. Richard Danielpour, one of the most commissioned composers of his time, and the Nobel Prize-winning DiChiera says he felt that the story of “Margaret author Toni Morrison had already begun a Garner,” told in operatic form, was a noble idea — treatment of “Margaret Garner” when Graves, now “the quest for freedom, a subject connecting our an internationally renowned mezzo-soprano, past, present and future” — despite the initial approached DiChiera about the idea of producing discouragement he felt when sounding out the idea the opera. with African American friends and colleagues.

Denyce Graves with David DiChiera and Andrea Bocelli (second from left) at DiChiera’s Detroit home after a “Wertherˮ performance in 1999.

“I thought ‘it’s a wonderful story, and Toni Morrison Moving to Center Stage is a great icon in the black community,’” DiChiera With the emotional backing of the community 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

says. “We’re in a city that’s more than 80 percent in place, DiChiera reached out to fellow opera African American, so if we’re going to be an opera companies in Cincinnati and Philadelphia — older company in the metropolitan area, we have to do American cities with populations as diverse as that DAVID DICHIERA DAVID DICHIERA DAVID

| things that invite that community to be involved of Detroit — to consider becoming co-commissioners |

60 with the art form. We see movies about slavery, we and producers of the work. The practice of co-pro- 61 see plays; but an opera, with its music and its power, duction between opera companies, using their provides an emotional impact that goes beyond all pooled resources to defray the expenses of mounting other art forms.” large productions such as “Margaret Garner,” originated with DiChiera himself during his simulta- Michigan Opera Theatre had much invested in neous tenure as general director of three opera “Margaret Garner” — not just $2 million in expenses, companies — MOT, California’s Opera Pacific and but the prestige of the company’s first world premiere Ohio’s Dayton Opera. in nearly 30 years. (The first, in 1976, was Thomas Pasatieri’s “Washington Square.”) Recognizing the “To take a step like this, you must have confidence divisive nature of the subject, DiChiera asked composer in the integrity and the artistic judgment of the other Danielpour to speak to a select group of community person,” said Robert Driver, artistic director of the leaders to tell them “how you see this opera.’” Philadelphia company, in a 2005 interview with The Detroit News. “When David called with the idea “This was no ‘Porgy and Bess,’” recalls arts and of ‘Margaret Garner’ I was very open to it simply community leader Betty Brooks, who participated in because of the person he is. He’s one of the most the roundtable. “This was based on our actual culture, respected people in the arts in America.” the indescribable plight of a woman who killed her children because she didn’t want them to The consortium of MOT, the Cincinnati Opera and be slaves. I would be very proud if 100 years from the Opera Company of Philadelphia (now Opera now someone in Amsterdam saw a production of Philadelphia) became a reality, and by the fall of ‘Margaret Garner’ and understood how African 2000 a commission was in place for Danielpour and Americans suffered.” Morrison to write the opera. The high caliber of the creative team, the historical The opera was a smashing success and a powerfully OTHER VOICES: significance of the subject matter, local community unifying experience for the city of Detroit. It drew TRIBUTES AND connections to the Underground Railroad and the a diverse audience, with black, white and Hispanic; REFLECTIONS enduring relevance of a story about the fight for old and young; novices and aficionados buzzing freedom encouraged the support of “flocks of angels” about how the opera was a starting point for a in all three commissioning companies. “We organized discussion of racism in modern-day America. The ‘The Friends of Margaret Garner’ in Detroit to especially Detroit Free Press, in its May 7th editorial, called the reach out to the black community. Friends were dear debut of “Margaret Garner” at the Detroit Opera — $1,000 each,” says Betty Brooks. Funding events House “an extraordinary event. ... The opportunity enjoyed significant participation from Detroit’s to see something new of this magnitude in this area African American community, with a “huge amount cannot be overstated because the whole region still of pride” attached to the success of these efforts. struggles with issues of segregation and inability to talk easily across racial lines.” Danielpour and Morrison finally completed work on “Margaret Garner” in December 2004. Three-week The premiere drew to Detroit both national press workshops, which included two costly orchestra coverage and the national convention of OPERA rehearsals, had taken place in August 2003 and America — a coup for DiChiera, who had enjoyed August 2004, wherein the score was reevaluated and an influential turn as president of the prestigious revised, characters were fleshed out, staging strategies organization. and set design were altered and thousands of rewrites were made to ready the opera for its premiere. “As you diversify faces on the stage, you diversify

the audience because people begin to see themselves The Pride of a World Premiere up there. And then you diversify the board, and The powerhouse cast featured Graves in the title role; the theater or opera really starts to belong to the baritone Rodney Gilfry as Edward Gaines, the owner community,” director Kenny Leon said in an interview of Maplewood Farm; and baritone Gregg Baker as with The Detroit News. “This opera, I think, is bigger Robert, Margaret’s husband. Soprano Angela Brown than all of us.” 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge replaced the legendary , who had originally been cast in the role of Robert’s mother, “Margaret Garner” has gone on to critical acclaim Cilla. (Norman’s decision to leave the show was in numerous productions since its Detroit premiere. supported by DiChiera and the creative team.) It was staged again by MOT at the Detroit Opera DAVID DICHIERA DAVID DICHIERA DAVID

| | Renowned stage director Kenny Leon directed, with House in 2008. It is one of the most significant operas 62 63 by Marjorie Bradley Kellogg and since 1935’s “Porgy and Bess” to focus on the African Stefan Lano . American experience.

There is only one David DiChiera on Earth. He is the most winning and visionary person I know. - Marc Scorca, president, OPERA America David DiChiera is a Renaissance man of the new millennium. A quiet but dynamic personality, he has kept the music and arts community in Detroit alive and Ever since David DiChiera created the Detroit Opera House, it’s brought about a well. In the 45 years that I have known stronger bond among people who love David, he has always been a storehouse the arts in Detroit — he has been the life preserver for the arts in the city. of energy and a positive force. He’s the Without him, none of Detroit’s arts supporters top in my opinion, a man of integrity would have had the stamina, the interest, the and soul. “glue” to keep connecting the dots in the city, not only towards the opera and the opera - Marcus Belgrave, jazz trumpeter, 2009 Kresge Eminent Artist house over the years, but towards the Music Hall, the Max M. Fisher Music Center and the Detroit Institute of Arts. He has really been the catalyst. I don’t think we would have the opera house without his ability to bring people together. He has maintained his role as the nucleus, and we have stayed loyal to him because he has taught us how to be loyal and we love him for that.

What more wonderful way to learn more about cars. Where else but Detroit can you find an opera opera than from the man himself, David DiChiera? house sitting in the midst of two sports arenas — both - Joanne Danto, Michigan Opera Theatre of which were built after the opera house opened? board member Growing up in North Carolina, my exposure to opera was limited to singing the beautiful arias of “Madama Working with David has given me occasion to use Butterfly” with my high school’s Glee Club and listening my creative and artistic abilities to bring cultural 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge to opera on the radio. I never dreamed that my world events of great meaning to Detroit. For me, the most of opera would begin in Detroit, a city known for important day after the opening of the opera house cars and factories, the place where I would meet so was the world premiere of “Margaret Garner” in 2005. Working with David as chair of the world DAVID DICHIERA DAVID DICHIERA DAVID

many opera singers and conductors and experience | |

64 how an opera comes together for an opening night. premiere committee, we raised close to $2 million for 65 the production and event. The premiere was one of For this wealth of experience, I must thank David the proudest moments in my life for it created an DiChiera, who encouraged me to become part of his opportunity to showcase “Margaret Garner,” a black opera world through volunteerism. I have now been opera, and our grand Detroit Opera House to the involved in volunteer work at the Detroit Opera world. I also chair African American dance at the House for over 20 years. I first met David at the Detroit Opera House, which brings in the Dance Music Hall, when we were both serving on the Theatre of Harlem and Alvin Ailey and other African board. He soon asked if I would take over as President American dance companies. Most recently, I had the of the Volunteers Association at the opera house. I privilege of helping raise $1 million for the world did and later became a member of the board of premiere of David’s own grand opera, “Cyrano,” at directors and one of three chairs for the Opera Ball the Detroit Opera House. David DiChiera is the real deal — he is not lip service, he doesn’t phone it in. that preceded the opening of the Opera House. I He doesn’t believe in something creative up to a point — he believes in the creative enjoyed the rare experience of guiding funders into My work with David has brought rich experiences process 100 percent. I can’t tell you how much I respect him for his understanding the house-in-progress wearing a hard hat. even further afield, first as a panelist for the National of the creative process and I could just take a number because there are so Endowment for the Arts in Washington, D.C., and many people who feel the same way. He believes in people, he takes The opera house has been very vital and visual in then with OPERA America in New York. I am happy chances and he doesn’t look back. In some ways, as an artist, his Detroit since its doors opened on April 21, 1996. to fulfill my dreams of seeing opera on stage in a has been almost a political position. He’s irreplaceable at Michigan What a day that was for the city of Detroit and the magnificent house and seeing it through the eyes of Opera Theatre and in Detroit. state of Michigan! What a grand, theatrical day, Dr. David DiChiera, one of the grandest opera - Heidi Ewing, filmmaker, director of “Detropia” with Luciano Pavarotti and a host of opera singers personas in the world. performing on the stage of the new grand opera - Betty Brooks, Michigan Opera Theatre board house. With this achievement, David showed people member, arts philanthropist and community leader that opera would work for our blue-collar town of David is probably one of the most amazing I look up to Dr. DiChiera because I know he’s about making a people I’ve ever met. He is known as being artistically brilliant, but as you work with him you difference in the world. I love him. begin to realize how brilliant of a businessman director of “Margaret Garner” he is. His charm, his commitment, his talent, he is - Kenny Leon, phenomenal in attracting people to support him who are just as committed as he is and that combination is what has caused Michigan Opera Theatre and the Picture a little boy whose immigrant parents, opera house to survive. working as day laborers, could not read, write, or speak English. Imagine him growing up poor in - Herman Frankel, Michigan Opera Theatre board the hilly town of McKeesport, Pa., with little opportunity member, business and community leader for success. Did he dare to dream anyhow? Had he read Langston Hughes’ poem, “Hold fast to dreams/ For if dreams die,/ Life is a broken-winged bird/ David is a great steward, a great leader, a great That cannot fly.”? Was he determined never to let role model for the whole of the industry. his wings be broken? In spite of adversity, did he already nourish the belief that he had the ability to - Denyce Graves, soprano soar to monumental heights?

I first met David DiChiera during the school year of WHAT MANNER OF MAN, WHAT MANNER the ready squinted through the silvery beam afloat with motes, casting Technicolor images on a larger 1965-66 when I was a research associate at Oakland

OF PLACE? than life screen. My fledgling imagination sailed the University and he was teaching there. We were two of several persons invited to a dinner party at the Imagine a place, a much maligned, almost oceans blue, rode the wild, wide western range, cruised the noir night in pursuit of its own improbable dreams. home of one of the professors of English. While I mythical place where — let’s call them cultural have forgotten most of the professors I met during alchemists —can work their whirly-giggery and Rather than taking the path of least resistance and the one year I was at OU, David remained in my reinvent themselves and the possibilities of this memory. I did not know how accomplished a person place. Think, for instance of a few of these deed-doers, easing along escape-route expressways in search of 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

he was, but I was impressed by his friendliness and (a short list being all that time and space and focus fairer weather or greener grass, David adopted the modesty. Conversing with him, I tried to find out will allow us here): mark Ford in his flivver factory, notion of Matthew 16:18, and, upon a rock in the more about him and his career, but all I learned was mark Gordy in his pop-hit plant, mark Iggy Pop’s 1500 block of Broadway morphed the former Capitol Theatre into The Detroit Opera House, home of that he taught music. DAVID DICHIERA DAVID DICHIERA DAVID

“Fun House” Stooges, mark a generation of bebop | |

66 musicians in a Blue Bird Inn . . . Dr. Wright’s Michigan Opera Theatre. Proving once again, that 67 After he left OU and eventually settled in Detroit, I museum, mark them, masters all of the improbable there is no improbability that in this experimental found out much more about his dedication to music vision, of the seemingly impossible undertaking. city on the Straits, this town of tilters against the towering windmills of doubters; stone slingers against and his phenomenal achievements. I will always be grateful that he chose this city to found the Michigan We have now been officially sanctioned to lengthen the Goliaths of nay-sayers of impracticable dreams, Opera Theatre, a city which had only an occasional the list by one, mark David DiChiera. against smart money red-lining, and the conventional wisdom of Doubting Thomases, that with the proper taste of opera, a city where most African Americans were not accustomed to attending what little opera A man who faced the improbability of creating an sower and the proper seed sown on the proper soil was available. Many Caucasians in Metro Detroit opera house, in this boisterous, hard-knock, even the barely imaginable may blossom. were not interested in opera either. heart-breaking, joy-making, nine-plus lives, city that has come back from more standing 8 counts than Until, once again it dawns on us that this business of Thank you, David, for holding fast to your dream and a B-movie Palooka. improbable dreams done by indomitable doers is not an anomaly at all, that this place is in fact a place for expanding our musical interests and experiences to include a previously unfamiliar genre. Thank An opera house; the full Monty. Orchestra in the pit, to be, rather than be from. Causing us, once again, you, too, for including African American operatic chorus upstage, tenors, baritones and sopranos in to celebrate this manner of man in this manner performers, as well as operas such as “Margaret full voice, center, left and right. All regaled in the of place. Garner.” You have made a very positive difference requisite period bling and swag, and all downtown Cue the fat lady. in the arts in Detroit, and I for one will be forever in this rusty, blue-collar bastion of contemporary On your feet. grateful. And thank you, Kresge Foundation, for bombast. A place for the wonders of Verdi, Rossini, naming Dr. DiChiera the 2013 Kresge Eminent Puccini to unfurl, flourish. Bravissimo, David. Bravissimo, Detroit. Artist. This is a well-deserved honor. This wonder of wonders in the restructured movie - Bill Harris, writer, educator, 2011 Kresge - Naomi Long Madgett, publisher, poet, palace where I, as a boy, ventured on scores of Eminent Artist 2012 Kresge Eminent Artist and Poet Laureate of Sunday afternoons, and with popcorn and pop at the City of Detroit If you watch David, you can learn a style and a David is not the type to press his work on other way of embracing life that is of tremendous people. He has always been very discreet about value. David has a gift for identifying talent that I his talent, not imposing anything on anyone. believe is rare. But his gifts aren’t restricted to those Most artists, we like to talk about ourselves and to in music. It involves everyday people. His ability to expand on how wonderful we are, but not David, he communicate with people, to be interested in you and never does that. place worth in your presence, is just as much a talent of his as his ability to compose. What so impresses me about David is his ability to accommodate ideas other than his own. He is not - Nora Moroun, arts philanthropist stuck to what he has done, he is always ready to revisit the work.

This quality is part of his personality — I’ve seen this in David DiChiera is a superstar him throughout our long friendship. David is always in every sense of the word. Luciano Pavarotti, one of the most successful questioning other people as much as he questions He is so well known in the tenors of all time, has been quoted as saying, himself about ideas or knowledge. opera world — he is as famous “People think I’m disciplined. It is not discipline. in that world as the top baseball It is devotion. There is a great difference.” - Bernard Uzan, opera director and players in the baseball world. librettist, “Cyrano” The residents and business community in the city David has been consistently committed of Detroit, and really anyone who has a deep to Detroit and to the Opera House appreciation of opera, know the difference that Dr. and to Michigan Opera Theatre for DiChiera has made in making the glorious Detroit David is one of my role models in the way 43 years. No public figure here has Opera House, and the tremendous talent that he handles his business and in the way he that record. I don’t think there is performs on its stage, a significant part of what treats people. There’s a lot to be learned anyone that even comes close — makes Detroit special. from David in how to be a great leader. I’m talking politicians, business leaders, other community leaders. 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

In fact, Pavarotti and a number of celebrities and To me, David is more than just a guy who runs the David doesn’t make the money dignitaries attended the triumphant opening of the opera house. He has inspired other folks to do more he deserves, he’s constantly Detroit Opera House in 1996, an event made possible in Detroit. It would have been easy for someone in sacrificing himself, he’s been I consider myself extremely fortunate through years of hard work by Dr. DiChiera. He was offered umpteen opportunities

DAVID DICHIERA DAVID his position to get discouraged, to change their vision DICHIERA DAVID

to have been chosen to sing Dr. | | the only person for the job, as the task required both 68 when we had very difficult times here in 2007-08 — elsewhere, but he’s stayed true to DiChiera’s music. When I sang the role 69 a devoted soldier and the soul of a true artist. there was every reason for those in the arts and his baby here in Detroit. He is of Roxane in “Cyrano,” he wrote an cultural world to be discouraged because the support universally loved — everybody loves specifically for my voice and strengths as Dr. DiChiera has been a wonderful partner for dropped away. David never let it daunt him, he David in that they respect him for the a singer. His writing is achingly beautiful General Motors and The General Motors Foundation, always had a vision, he always had encouragement consistency and the integrity of his vision, and truly expresses the emotional journey taking us on the journey to build this landmark for others. His was a steady hand at a very difficult for the constant dedication to what of a character. His songs are equally as every step of the way. We became contributors at the time and he set the bar for a lot of folks in the he has done and his personal moving. The songs require a bit more beginning, and we maintain our relationship with community. determination. maturity in the sound, and the settings Dr. DiChiera and his staff. His devotion to the Detroit of the St. Vincent Millay texts are very Opera House, and to bringing opera to our city, We couldn’t have asked for a better gentleman to be - R. “Rick” Jamison compelling, using chest register and moved private citizens, corporations and foundations involved in our community. David is the consummate Williams Jr. extreme high notes to portray the angst to contribute more, to be better patrons of the arts MOT Board Chairman professional — he cares about the community, he of time moving on and love lost. Dr. and, frankly, better citizens of the Detroit community. understands the broader role of what he does, he DiChiera has been a champion for the always has time for people. arts throughout the United States. For Today, we enjoy the splendor of an evening at the many years he has kept artists in Detroit Opera House, not only because of its gran- And let’s not forget, he’s taught me a lot about business, forgoing his own craft. I hope he deur, or because of the experiences we have within opera. For a kid who grew up in Detroit, that’s quite can find time in his later years to continue its walls, but because Dr. DiChiera greets us with his an accomplishment. to express his kind and emotional soul wonderful presence, and at the same time gives us a through his compositions. reminder of what devotion can accomplish. - James G. Vella, President, Ford Motor Company Fund - Leah Partridge, - Vivian R. Pickard, President, General Motors Soprano,“Roxaneˮ in David DiChiera’s Foundation and Director, General Motors Corporate “Cyranoˮ and original recording artist of Relations his “Four Sonnets,ˮ the CD of which accompanies this monograph. 70 | DAVID DICHIERA 2013 Kresge Eminent Artist 71 | DAVID DICHIERA 2013 Kresge Eminent Artist 72 | DAVID DICHIERA 2013 Kresge Eminent Artist 73 | DAVID DICHIERA 2013 Kresge Eminent Artist BIOGRAPHY: Born: April 8, 1935, DAVID DICHIERA McKeesport, Pennsylvania

Education 1986-1996 Founder/Director 1956 Opera Pacific B.A., Phi Beta Kappa Orange County, California UCLA Los Angeles, California Appointments 1958 M.A., Composition 1979-1983 UCLA President Los Angeles, California OPERA America New York, New York (formerly in 1962 Washington, D.C.) Ph.D., Musicology UCLA August 23-26, 1983 Los Angeles, California Chairman Conference on New American Works Professional Activities Sponsored by OPERA America, Rockefeller Foundation and 1957, 1961 National Endowment for the Arts

Instructor UCLA September, 1983 Los Angeles, California Author: Preface Perspectives: Creating and 1962 Producing Contemporary Opera Associate Professor and Michigan State University-Oakland A Series of Fifteen Monographs, Rochester, Michigan Published by OPERA America 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge

1963-65 1981-1993 Assistant Dean Artistic Director Continuing Education in the Arts Dayton Opera DAVID DICHIERA DAVID DICHIERA DAVID

| Oakland University |

Dayton, Ohio 74 Rochester, Michigan 75 Trustee 1963-1974 National Institute of Music Theatre Director Overture to Opera Board Member Detroit Grand Opera Association American Arts Alliance Detroit, Michigan Panel Member 1965-1972 National Endowment for the Arts Chairman Washington, D.C. Department of Music Oakland University Chairman Rochester, Michigan Opera/Musical Theater Panel National Endowment for the Arts 1971- Washington, D.C. Founder/General Director/Artistic Director August 3-9, 1984 Michigan Opera Theatre (MOT) Chairman Detroit, Michigan 2nd Annual Conference/Verona, Italy 1975-1982 Public Address: “Evolution of the Founder/Artistic Director Opera Audience” Music Hall Center for the Performing Arts Vice President Detroit, Michigan International Association of Lyric Theatre Liege, Belgium Commissions

1976 Washington Square Thomas Pasatieri/Kenward Elmslie Adapted from the novel by Henry James Commissioned and received its world premiere October 1, 1976, at the Music Hall Center for the Performing Arts in a Michigan Opera Theatre production.

2005 Margaret Garner Richard Danielpour/Toni Morrison Commissioned and received its world premiere May 7, 2005, at the Detroit Opera House in a $2 million Michigan Opera Theatre production.

Left to right: David DiChiera in action with Barbara Wrigley, Lorne Greene, Shirley Eder and the Channel 56 Telethon, San Francisco Mayor Diane Feinstein, soprano , and Gov. Jim Blanchard and his wife, Janet. Publications

“Giuseppe und Gian Francesco de Majo” “A Producer looks at Kurt Weill” “Sarti, Giuseppe” 1976 1981 1993 Die Musik in Geschichte und Impresario Magazine of the Arts The New Grove Dictionary of Opera Senate Resolution Key to the City of San Francisco Contributions to the Arts

Gegenwart February-March 1969 Volume IV Tribute to the Michigan Opera Presented by Diane Feinstein, 1981-1993 as Artistic Director of Volume VIII Village House Publishers, Inc. Edited by Theatre on the Occasion of the Mayor Dayton Opera Bärenreiter-Verlag Oak Park, Michigan world premiere of a new opera, San Francisco, California Arts Dayton Heinrich-Schütz-Allee 35-37 New York, New York, 1992 “Washington Square.” Dayton, Ohio Kassel, Germany, 1960 “Majo, Gian Francesco de” Michigan Senate 1981 The New Grove Dictionary of Music “Sacchini, Antonio (Maria Gasparo Lansing, Michigan Honorary Citizen of New Orleans 1993 “Giuseppe Martucci” and Musicians Gioacchino)” City Council of New Orleans Proclamation Resolution

2013 Kresge Eminent Artist 2013 Kresge Die Musik in Geschichte und Volume 11 The New Grove Dictionary of Opera 1977 New Orleans, Louisiana Celebrating David DiChiera, Eminent Artist 2013 Kresge

Gegenwart Edited by Stanley Sadie Volume IV, pp. 114–116. Cavaliere Artistic Director Volume VIII Macmillan Publishers Limited Edited by Stanley Sadie Order of Cavaliers May 7, 1982 Board of County Commissioners/ Bärenreiter-Verlag London, England, 1980 Oxford University Press Bestowed by the President of Italy The President’s Cabinet Award Dayton Opera Heinrich-Schütz-Allee 35-37 New York, New York, 1992 Rome, Italy University of Detroit Montgomery County, Ohio DAVID DICHIERA DAVID DICHIERA DAVID

| | Kassel, Germany, 1960 “Majo, Giuseppe de” Detroit, Michigan 76 77 The New Grove Dictionary of Music 1979 1995 “Giovanni Battista Mele” and Musicians Selected Awards and Michiganian of the Year February 20, 1988 Golden Apple Award Die Musik in Geschichte und Volume 11 Recognitions The Detroit News Friends of Mercy Award The Roeper School Gegenwart Edited by Stanley Sadie Detroit, Michigan Mount Carmel Mercy Hospital/ Bloomfield Hills, Michigan Volume IX Macmillan Publishers Limited 1956 Samaritan Health Center Bärenreiter-Verlag London, England, 1980 Atwater Kent Award March, 1979 Detroit, Michigan 1996 Heinrich-Schütz-Allee 35-37 UCLA David DiChiera: Downtown Detroit International Heritage Hall of Fame Kassel, Germany, 1961 “Josef Myslivecek” Los Angeles, California Ambassador 1989 International Institute of Detroit The New Grove Dictionary of Music Certificate of Recognition Lee Hill Career Achievement Award Detroit, Michigan “” and Musicians 1956 Center Business District Detroit Free Press Die Musik in Geschichte und Volume 13 Gershwin Award Detroit, Michigan Detroit, Michigan 1996 Gegenwart Edited by Stanley Sadie UCLA Resolution Volume IX Macmillan Publishers Limited Los Angeles, California February 14, 1980 February 14, 1991 Honoring David DiChiera and his Bärenreiter-Verlag London, England, 1980 Senate Resolution Resolution contributions to opera and the City Heinrich-Schütz-Allee 35-37 1959 Tribute to David DiChiera in Honoring David and Karen of Detroit Kassel, Germany, 1961 “Majo, Gian Francesco de” Fulbright Scholar recognition of being named DiChiera as winners of Bethel Wayne County Commission, The New Grove Dictionary of Opera Italian Opera and Composition Michiganian of the Year A.M.E. Church Brotherhood Award 12th District “Josef Myslivecek” Volume III Council for International Exchange Michigan Senate Wayne County Commission, Detroit, Michigan Die Musik in Geschichte und Edited by Stanley Sadie of Scholars Lansing, Michigan 4th District Gegenwart Oxford University Press Washington, D.C. Detroit, Michigan 1996 Volume IX New York, New York, 1992 1980 Citizen of the Week Bärenreiter-Verlag Certificate of Appreciation Il Michelangelo for Distinguished Service February 24, 1991 WWJ Newsradio 950 Heinrich-Schütz-Allee 35-37 “Majo, Giuseppe de” The Honorary Roman Gribbs to Children I Am My Brother’s Keeper CBS Affiliate Kassel, Germany, 1961 The New Grove Dictionary of Opera Mayor of Detroit Boys Town of Italy Presented to Dr. and Mrs. David Detroit, Michigan Volume III Detroit, Michigan Detroit, Michigan DiChiera “Los Angeles: New Opera Premiered” Edited by Stanley Sadie Brotherhood Bethel A.M.E. Church The Music Magazine Oxford University Press Detroit, Michigan July 1962, p. 27 New York, New York, 1992 2005 Resolution Honoring David DiChiera on his 70th birthday Wayne County Commission Detroit, Michigan

2005 Resolution Honoring David DiChiera for his passionate dedication to operatic artistry and his undying commitment to the city of Detroit. Detroit City Council Detroit, Michigan

2005 Certificate of Appreciation Detroit City Council Detroit, Michigan

2005 Publisher’s Choice Award/Michigan Opera Theatre Wilde Awards

Between the Lines Magazine 1996 1998 2001 Pride Source Media Group Marquee Award Certificate of Special Recognition Armenian Scroll Livonia, Michigan The Theatre Historical Society Wayne County Commission In recognition of David DiChiera’s Elmhurst, Illinois Detroit, Michigan pioneering of the Armenian 2005 National Opera “Anoush” Honoree 1997 1999 The Armenian Community of Detroit The ACLU of Michigan Phoenix Award Spirit of Innovation Award Detroit, Michigan Detroit, Michigan 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge For Outstanding Accomplishment Michigan Opera Theatre in Conservation and Preservation Michigan Council for the Arts and 2001 2006 Society of American Travel Writers Cultural Affairs Certificate of Appreciation Spirit of Giving Award , Detroit, Michigan The Adcraft Club of Detroit Franklin-Wright Settlements DAVID DICHIERA DAVID DICHIERA DAVID

Detroit, Michigan | Detroit, Michigan |

78 1997 1999 Top: David DiChiera greeting the next generation of opera lovers at The Detroit Opera House. 79 The Preservation Wayne Honor Award The Christopher Columbus Day “Man of April 28, 2002 2006 Bottom: In an effort to expand its audience, the Detroit Opera House opens its doors to a variety of Preservation Wayne the Year” Award Italian American of the Year Lifetime Achievement Award events. Here, David DiChiera at a benefit for the Michigan Humane Society. Detroit, Michigan 1999 Columbus Day Celebration Italian Study Group National Opera Association Committee Detroit, Michigan Canyon, Texas 2010 2012 1997 Detroit, Michigan Opera Honors Honoree Merrill-Palmer Award 2004 2008 National Endowment for the Arts Italian Heritage Society For Distinguished Service 2000 Honorary Ph.D. Closing the Gap Award (NEA) Detroit, Michigan Metropolitan Detroit Teen Confer- Bridge Builder’s Award Doctor of Humane Arts New Detroit, Inc. Washington, D.C. ence Partners for Livable Communities Detroit, Michigan 2012 Merrill-Palmer Skillman Institute Washington, D.C. Detroit, Michigan 2010 I Pagliacci/Michigan Opera Theatre Detroit, Michigan 2008 Honorary Ph.D. Best Musical or Opera Production 2001 2004 Neal Shine Award for Exemplary Doctor of Humane Letters Wilde Awards 1998 Honorary Ph.D. Induction into The Leaders Club Regional Leadership Encore Michigan Commencement Speaker Doctor of Arts School of Business Administration Detroit Free Press Detroit, Michigan Livonia, Michigan Oakland University Wayne State University Detroit, Michigan Ann Arbor, Michigan Rochester, Michigan Detroit, Michigan 2011 2013 2008 Molti Grazie! Kresge Eminent Artist 1998 2001 2004 Honorary Ph.D. In celebration of the 40th The Kresge Foundation Honorary Doctor of Music Arts Advocate Award Honoree/2004 NANM Award’s Banquet Doctor of Arts anniversity of its founding Troy, Michigan University of Michigan Wayne State University National Association of Negro Madonna University Michigan Opera Theatre Ann Arbor, Michigan Detroit, Michigan Musicians Livonia, Michigan Detroit, Michigan 2013 , Executives Club Lifetime 1998 2009 2012 Achievement Award Award of Recognition 2005 Distinguished Warrior Knight Arts Detroit City Council Stylemaker Detroit Urban League James S. and James L. Knight Detroit, Michigan Detroit, Michigan Metro Parent Magazine Detroit, Michigan Foundation Ferndale, Michigan Detroit, Michigan Musical Works Our Congratulations

1957 1998 Each year, the Kresge Eminent Artist Award recognizes a metropolitan Detroit artist whose Sacred Four Sonnets For organ, chorus and soloists World Premiere for soprano and work and career exemplify sustained, outstanding achievement and a commitment to sharing Church of Jesus Christ orchestra that work with the local community. In what is a quintessential Detroit story, David DiChiera Los Angeles, California Orchestration by Steven Mercurio has worked tenaciously for decades, against all odds, to make Detroit a hub for opera, dance [John DeMain, conductor; Helen and musical theater. It is due to his unwavering dedication to Detroit and his outstanding 1958 Donath, soprano] work as an impresario, composer and artistic director that Kresge Arts in Detroit is proud to Commissioned for the Madison Master’s Thesis in Composition Symphony Orchestra name David DiChiera the Kresge Eminent Artist for 2013. University of California at Los Oscar Mayer Theater Angeles Madison Civic Center In his accomplished and diverse career, David has been a regional and international force Los Angeles, California Madison, Wisconsin committed to making opera more available and accessible to a wider audience. Notably, he founded both the Michigan Opera Theatre and Opera Pacific and has served as Artistic 1959 2007 Director of the Dayton Opera Association and as president of OPERA America. In addition to Piano Sonata Cyrano Commissioned by the United States Full-length grand opera his work as general and artistic director at Michigan Opera Theatre, David is a critically Information Service Libretto by Bernard Uzan; acclaimed composer: among his most celebrated works is the full-length opera “Cyrano,” World Premiere orchestration by Mark Flint composed in 2007. Naples Festival of Contemporary World Premiere and American Music Michigan Opera Theatre Naples, Italy Detroit Opera House David is renowned for his commitment to Detroit, for nurturing African American artists in the Broadcast Radio Italiana Detroit, Michigan field, for fostering collaborations with other organizations, and for supporting the composition and production of new operas that reflect the communities in which they are performed. 1963 2009 David has always felt strongly that having an opera house in Detroit could help revitalize the Lament for Two Souvenir d’Arras city, and we honor him for his pioneering leadership and artistic vision. Premiere For violin, cello and piano Oakland University (Based on themes from the Arras Rochester, Michigan scene in the grand opera “Cyrano.”) Our sincere thanks to the Kresge Arts in Detroit Advisory Council for selecting David from a World Premiere, May 22, 2009 number of very talented nominees. Kresge Arts in Detroit recognizes that artists are a critical 1963 Ambassador Chamber Trio force in the revitalization of our region — David’s sustained accomplishments and care for the

2013 Kresge Eminent Artist 2013 Kresge Theatre d’Arras Eminent Artist 2013 Kresge Fantasy for Violin and Piano cultural life of our city make him a community treasure, and eminent indeed. Premiere Arras, France Oakland University Michelle Perron Rochester, Michigan Director DAVID DICHIERA DAVID DICHIERA DAVID

Kresge Arts in Detroit | | 1964-65 80 81 Four Sonnets For soprano and piano To verses by Edna St. Vincent Millay - I, Being Born a Woman - What Lips My Lips Have Kissed, and Where, and Why - Time Does Not Bring Relief - Loving You Less Than Life, a Little Less Premiere Oakland University Rochester, Michigan

Black Beads Three Songs for Mezzo-Soprano and Piano To verses by Richard Kubinski World Premiere Oakland University Rochester, Michigan

1973 Rumpelstiltskin (With Karen VanderKloot DiChiera, libretto by Joan Hill) One-act children’s opera Premiered and toured by the Michigan Opera Theatre Community Program A Note from Richard L. Rogers The Kresge Eminent Artist Award

The College for Creative Studies is proud to partner with The Kresge Foundation to administer Established in 2008, the Kresge Eminent Artist Award Studies administers the Kresge Eminent Artist Award on the Kresge Eminent Artist Award through the Kresge Arts in Detroit program. CCS believes honors an exceptional literary, fine or performing artist behalf of The Kresge Foundation. whose influential body of work, lifelong professional strongly in the importance of individual artists to society, and we particularly value the role achievements and proven, continued commitment to The Kresge Eminent Artist Award, annual Kresge Artist they are playing today in energizing and reimagining our community. As it is the College’s the Detroit cultural community are evident. The Kresge Fellowships, and multi-year grants to arts and cultural mission to educate the next generations of artists, we are glad to be part of a program that Eminent Artist Award celebrates artistic innovation and organizations in metropolitan Detroit constitute Kresge recognizes people who have devoted their lives to art and who have enriched the lives of so rewards integrity and depth of vision with the financial Arts in Detroit, the foundation’s effort to provide broad many others. support of $50,000 as judged by the Kresge Arts in support to the regional arts community. Detroit Advisory Council. The College for Creative

I am particularly proud that CCS is playing a role in honoring David DiChiera, who brilliantly combines the roles of musician, impresario and community advocate. He is a dear colleague and an inspiration to those of us who lead cultural institutions in the region. His deeply honed musical sensibilities combined with a steely determination and deep love for this city have given Kresge Eminent Artist Award Winners us great opera in a great opera house. He is a hero to all who want to build a more robust cultural life in Detroit and richly deserves recognition as the 2013 Kresge Eminent Artist.

Richard L. Rogers President College for Creative Studies

Charles McGee Marcus Belgrave Bill Harris Naomi Long Madgett 2013 Kresge Eminent Artist 2013 Kresge Eminent Artist 2013 Kresge 2008 2009 2011 2012 Kresge Arts in Detroit Advisory Council Charles McGee is an artist of Master jazz trumpet player Bill Harris, Detroit’s distinguished Award-winning poet, editor, DAVID DICHIERA DAVID DICHIERA DAVID

international renown whose and recording artist Marcus | Gary Anderson M.L. Liebler author, literary critic and and educator Naomi Long | 82 Artistic Director and Co-Founder Professor work has been celebrated in Belgrave has enthralled college educator, has been Madgett has nurtured 83 Plowshares Theatre Wayne State University hundreds of exhibitions from audiences world-wide with his writing for more than 40 years, generations of aspiring poets Detroit to Bangkok. He has musical virtuosity and mentored winning national acclaim for through her teaching, annual Larry Baranski Anne Parsons been a teacher and mentor scores of aspiring young his poetry, plays, novels, poetry award and publishing Director of Public Programs & Curator of President & CEO to thousands of young artists, musicians, many of whom went essays and criticism. His plays company. Madgett established founded galleries and arts on to become great artists have received more than 100 Detroit’s Lotus Press in 1972, the Paul McPharlin Puppetry Collection Detroit Symphony Orchestra organizations and created themselves. His tireless work, productions in the United making it possible for other Detroit Institute of Arts opportunities for others to amazing technical abilities and States. Harris was named as African American poets to Gilda Snowden share their work and ideas. the joy and spontaneity with 2011 Kresge Eminent Artist for publish and distribute their Aaron Barndollar Professor of Fine Arts His paintings, assemblages which he creates distinguish his commitment to cultivating work. Madgett was named a Director College for Creative Studies and sculptures have been him worldwide as a jazz master. creative writing talent as a Kresge Eminent Artist in Center of Music & Performing Arts commissioned and collected The internationally recognized Wayne State University English recognition of her deep and Southwest (COMPÁS) Gregory M. Wittkopp by prestigious institutions trumpeter long ago chose professor and for his own abiding commitment to Director and individuals around the Detroit as his home and he professional literary contribu- metropolitan Detroit and its Aurora Harris Cranbrook Art Museum world and are in the permanent remains among its most tions as author and playwright. literary artists. Now in her ninth Poet, Board of Directors collection of the Detroit celebrated performing artists, Now professor emeritus, decade, this distinguished Institute of Arts. Energetic, an icon to musicians and Harris published “Booker T. & woman of letters and Detroit Broadside Press always probing and eager to lovers of jazz everywhere. Them: A Blues,” an examination poet laureate continues to reinvent, McGee remains His energy, artistry, and in long poem form of the era harness her own talents in the Termon Hayes prolific and vital as he enters unwavering dedication to the of Booker T. Washington, with service of others as she edits Musician the seventh decade of a advancement of music Wayne State University Press poetry manuscripts, gives The Sun Messengers distinguished career, with education and performance in 2012. He is working on readings and introduces new several public art projects in excellence epitomize the three new novels. poets to the public. development. distinguishing qualities of a Kresge Eminent Artist.

About The Kresge Foundation

The Kresge Foundation is a $3 billion private, national foundation that works to expand opportunities in America's cities through grantmaking and investing in arts and culture, education, the environment, health, human services, community development and in our place-based efforts in Detroit. In 2012, the Board of Trustees approved 410 awards totaling $130.5 million; $150.3 million was paid out to grantees over the course of the year. For more information, visit kresge.org.

The Kresge Foundation Board of Trustees

Elaine D. Rosen, Chair Irene Y. Hirano James L. Bildner David W. Horvitz Lee C. Bollinger Cynthia Kresge Phillip L. Clay, Ph.D. Maria Otero Steven K. Hamp Rip Rapson, President and CEO (Ex Officio) Paul C. Hillegonds Nancy M. Schlichting

Credits Acknowledgements Rip Rapson With very special thanks to David DiChiera for his time, enthusiasm, and herculean efforts in producing this project. President and CEO As the author of several essays in this monograph and the The Kresge Foundation composer of “Four Sonnets,” David DiChiera has graciously granted permission to The Kresge Foundation to print, either Cynthia B. Shaw as excerpts or in their entirely, the essays and to record “Four Communications Director Sonnets” in CD format. 2013 Kresge Eminent Artist 2013 Kresge The Kresge Foundation With special thanks to Tim Lentz, Bryce Rudder and the staff of Michigan Opera Theatre’s Allesee Library for their efforts in researching information and photos for this monograph; and Judith A. McGovern with many thanks to Bill Austin, special assistant to David Associate Director of Communications DiChiera. DAVID DICHIERA DAVID

With additional thanks to Marcus Belgrave, Mayor Dave Bing, | W. Kim Heron Betty Brooks, Joanne Danto, Christina DiChiera, Karen 84 Web and Publications Writer VanderKloot DiChiera, Lisa DiChiera, Heidi Ewing, Herman CD Inside David DiChiera’s The Kresge Foundation Frankel, Bill Harris, Senator , Naomi Long Madgett, Glen Michaels, Nora Moroun, Leah Partridge, Vivian R. Pickard, Mark Whitney Brian Register, Raj Shahani, Governor Rick Snyder, Senator Debbie Stabenow, Bernard Uzan, James G. Vella and R. News Editor Jamison Williams Jr. for their kind contributions. The Kresge Foundation Photography Julie Bagley Carol Dronsfield Four Sonnets Communications Assistant Photos appearing on cover, inside front cover, pgs. 17, 35, 40, 42, 43, 44, 45, 46, 63, 64, 65, 66, 69, 74, 80, 83, inside back The Kresge Foundation cover, back cover. Sue Levytsky Julie Pincus (with verses by Edna St. Vincent Millay) Creative Director, Editor, Writer Photos appearing on pgs. 17, 47, 78, 83. Additional Photography Julie Pincus A number of the photos used through this monograph come Art Director, Graphic Designer from the personal collection of David DiChiera and the “Time Does Not Bring Relief” collection of The Allesee Dance & Opera Resource Library, the official library and archive for Michigan Opera Theatre. Domenica Trevor Every effort has been made to locate the holders of copyright “Loving You Less Than Life, a Little Less” Copy Editor materials. The following have graciously given their permission to print and/or reprint the following material: “I, Being Born a Woman and Distressed” Michelle Andonian for photo appearing on pg. 83; Justin CD Production Maconochie for photo appearing on pg. 83. CD mastered by Craig Kaufman “What Lips My Lips Have Kissed, and Where, and Why” New York Pg. 32: CREDIT: MIRA for photo appearing on pg. 32, © Copyright 2013 Ballet Theatre Foundation, Inc. All rights CD reproduced by reserved. Disc Makers Soprano: Leah Partridge Printer Pianist: Craig Ketter University Lithoprinters

©The Kresge Foundation All Rights Reserved The paper manufacturer and the kresge.org printer are Forest Stewardship ISBN: 978-0-983-9654-1-1 CouncilTM certified.