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The Detroit Symphony Orchestra AN BEElltOVEN iCOltau,a.' by ANTA DORAn Detro Symphony Orchestra in cooperation Michigan Opera Theatre April 9 and 11, 1981 Copyright• 2010,ford Michigan Auditorium Opera Theatre • 8:30 p.m. Copyright 2010, Michigan Opera Theatre Thursday and Saturday evening, April 9 and 11, 1981 at 8:30 • Ford Auditorium THE DETROIT SYMPHONY ORCHESTRA Antal Dorati, Music Director in cooperation with MICHIGAN OPERA THEATRE David DiChiera, General Director LUDWIG VAN BEETHOVEN FIDELIO Opera in two acts Libretto by Josef Sonnleithner and Georg Friedrich Treitschke conductor: Antal Dorati stage director: Sarah Ventura set and costume design: Tonina Dorati lighting designer: Richard Winkler costumes realized by: Bonnie Whalen Characters in order of vocal appearance: Jaquino, Rico Serbo porter at the prison Marzelline, Dinah Bryant daughter of Rocco Rocco, Kurt Rydl jailer at the prison Leonore, Elisabeth Ander wife of Florestan, disguised as a youth under the name of Fidelio Don Pizarro, Wolfgang Lenz governor of the prison First Prisoner Michael Hendricks Second Prisoner Mark Vondrak Florestan, Hermann Winkler a prisoner of the state Don Fernando, Andreas Poulimenos Minister of State Soldiers, Prisoners, People Kenneth Jewell Chorale Eric Freudigman, director Copyright 2010, Michigan Opera Theatre PRODUCTION CREDITS production coordinators: Dwight Bowes Andrew Raeburn musical preparation: Murray Gross George Darden make-up and wigs: Lenna Rashkovsky Steven Horak production stage manager: Peggy Imbrie I technical director: Robert Murphy - costume mistress: Bonnie Whalen assistant lighting designer: Betsy Adams .. property master: William m'Arch McCarty costume assistants: Mary Habeck, Marion B. Solomon, Sharon Yesh, Diane jamieson set construction: Merrill Stone Associates costumes built by: MOT Costume Shop and The Studio, New York additional costumes from: Eaves-Brooks Inc., New York, and Malabar, Ltd., Toronto leather jackets by: Reed Sportswear Manufacturing Co. and Serman's supernumeraries: james Hillman, Fred Lozen, Chuck McGraw, Rick Mox, jerry Orlowski, Robert Paul, Terry Prim, jim Theisen STAFF FOR DETROIT SYMPHONY ORCHESTRA Ralph O. Guthrie, managing director Andrew Raeburn, artistic administrator Michael A. Smith, orchestra manager Sylvia Espenschade, director of public affairs Margaret Devine, director of finance Bruce Carr, assistant manager Peter G. Remington, director of development Stevan Davis, communications manager Steve Haviaras, audience development director Vernon C. Allen, house manager Elizabeth Carr, secretary to the music director STAFF FOR MICHIGAN OPERA THEATRE David DiChiera, general director Dwight Bowes, director of productions Karen DiChiera, director of education . Richard A. johnson, director of finance Stefanie Ott-O'Toole, director of development Edward Townley, director of public relations Activities of the Detroit Symphony Orchestra and of Michigan Opera Theatre are made possible in part with the support of the State of Michigan through funds from the Michigan Council for the Arts. Michigan Opera Theatre is a member of OPERA America, Inc. Copyright 2010, Michigan Opera Theatre ANTAL DORATI, Music Director of the Detroit Symphony Orchestra since 1977, has had a long and distinguished career as an orchestra conductor, and has appeared with virtual­ ly every major orchestra. Maestro Dorati was born in Budapest in 1906 and entered that city's Acad­ emy of Music at the age of 14. Trained as a composer, cellist, pianist and con­ ductor, he graduated at 18, the youngest in the history of the Academy. He was immediately named coach and, soon after, conductor of the Royal Opera House in Budapest. From 1934 until 1941 he was Music Director of the Ballets Russes de Monte Carlo and, subsequently, of the American Ballet Theatre. His first perform­ ance in Detroit was in 1936, as a conductor of the DR. DAVID DiCHIERA Ballets Russes . founder and general di­ He left the American Ballet Theatre in 1945 to rector of Michigan Opera organize the Dallas Symphony Orchestra, and his Theatre, fi rst came to th is spectacular success there led to an invitation from state as teacher and ad­ the Minneapolis Symphony Orchestra to become ministrator at Oakland Music Director. During this period he was respon­ University, where he sible for numerous commissions, world premieres served as Chairman of the and American premieres of important compositions. Department of Music. He His principal appointments since leaving the Min­ created and developed the neapolis Symphony include the Chief Conductor­ idea of Overture to Opera ships of the BBC Symphony Orchestra (1963-67), - a company of local the Stockholm Philharmonic Orchestra (1967-74), singers who presented and the Royal Philharmonic Orchestra in London programs featuring ex­ (1974-78), and the Music Directorship of the Na­ cerpts in English from operas to be featured during tional Symphony Orchestra in Washington, D.C. the Metropolitan Opera's annual visit to Detroit. (1969-77). Maestro Dorati was named Conductor The success of Overture to Opera provided a Laureate of the Royal Philharmonic Orchestra in strong foundation for the establishment of an in­ july of 1978, and he continued his affiliation with dependent professional opera company in Detroit. the National Symphony as Principal Guest Conduc­ In 1971 the new company-later renamed Mich­ tor through the spring of 1980. igan Opera Theatre - found its home in the his­ In 1977, Maestro Dorati instituted a series of toric Music Hall, rescued and refurbished under annual mid-season festivals in Detroit dedicated to Dr. DiChiera's artistic leadership as founding direc­ one composer or group of composers. Beethoven tor of the Music Hall Center for the Performing was the first, followed by a "Schubert and Vienna" Arts - a role he subsequently relinquished to con­ festival in 1978. The International Brahms Festival in centrate full-time on MOT, although he remains spring of 1980 made Detroit the site of North Amer­ a member of the Music Hall Board of Directors. ica's most comprehensive series of events ever de­ In addition to his local duties, David DfChiera voted to Johannes Brahms. currently serves as president of OPERA America, In the fall of 1979 Antal Dorati led the DSO on the federation of all major opera companies in Hs premiere tour of Europe, producing rave reviews North and South America. An accomplished com­ and standing ovations throughout the five weeks, poser, he resides in Bloomfield Hills with his wife two dozen concerts, and eight countries of the tour. Karen and their two daughters, Lisa and Cristina. Copyright 2010, Michigan Opera Theatre Scenic designer TONINA DORATI is the only child of Detroit Symphony Orchestra Music Director Antal Dorati. She designed the sets and costumes for the Detroit Symphony's production of Richard Strauss's opera Elektra, performed at Ford Audito­ rium in March 1978. She has studied her craft exten­ sively in Europe, including three summers at Italy's renowned Spoleto Festival. She has also designed sets and costumes for opera and ballet productions in Holland, and most notably, designed seven pro­ ductions for Joan Sutherland's own company when it toured Australia in 1965. Lighting designer RICHARD WINKLER has, for the past five seasons, designed for the Dallas Civic Opera. Some of his credits include their new pro­ duction of Turandot, La Cenerentola, Rigoletto, La Boheme, Salome, and Madam Butterfly. For the Greater Miami Opera Guild he created the lighting design for The Abduction, and for the Houston Grand Opera he recreated his Cenerentola. His International stage director SARAH VENTURA Broadway designs include the current Your Arms has worked with some of Europe's most distin­ Too Short To Box With God, the Shirley Bassey guished artists, among them Jacques Charon, Marcel Concert, Something's Afoot, Best Friend, and The Lamy, Herbert Graf, Lotfi Mansouri, Gunther Ren­ Play's The Thing. He has supervised the lighting for nert and Wieland Wagner. Miss Ventura 'has herself The Concert, starring Frank Sinatra, both of Shirley staged more than 50 diverse productions through­ MacLaine's Palace Theatre engagements, George out Europe, South America and the United States. Benson at the Belasco, and Ashford and Simson at Traditional repertoire in the original languages has the Pa'iace. Regional assignments have been the included La Boheme, The Marriage of Figaro, The Folger Theatre's Wild Oats, A Christmas Carol for Barber of Seville and La Traviata, while she has also the Milwaukee Rep, Tuscaloosa, and How To Rob A directed seldom performed operas such as Scarlatti's Bank. He designed the lighting for MOT's highly If Trionfo del Onore, Cimarosa's If Matrimonio successful production of Die Fledermaus last fall. In Segreto, Haydn's If Mondo della Luna, Strauss's A addition to Mr. Winkler's work in the theatre he is Night in Venice and Purcell's Dido and Aeneas. also the lighting consuhant for Canada's Wonder­ Twentieth-century works include Le Donne Curiose land, a huge new Theme Park to open in Toronto by Wolf-Ferrari, Nino Rota's If Capella di Paglia di this spring. Firenze, Stravinsky's Mavra, Landowsky's Le Ventri­ loque, Menotti's Amahl and The Night Visitors and Milhaud's Le Pauvre Matelot. In Detroit, she was Costumer BONN ~ E WHALEN is a Detroit native director of MOT's production of II Trovatore. in her fifth season with Michigan Opera Theatre. Miss Ventura's immediate plans include Don She most recently designed costumes for MOT's Pasquale and Lucia di Lammermoor in Utah, Madam acclaimed production of Carlisle Floyd's Of Mice Butterfly in Santiago de Chile, the forthcoming pro­ and Men, and has also designed for MOT produc- . duction of Tosca with Michigan Opera Theater next tions of Don Pasquale, Hansel and Gretel and Porgy fal,l, and Sutermeister's La Botte Rouge in Geneva. and Bess. A graduate of the University of Detroit, Miss Ventura's energy and dynamic personality she has worked with the New York Shakespeare contribute to the ever-increasing success of her Festival and Santa Fe Opera in addition to the Har­ career, to her distinctive style, and her respected binger Dance Company, Meadow Brook Theatre reputation.
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