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HNW_Power of Possible_8x10.875ed.indd 1 7/8/2016 4:01:14 PM WELCOME LETTER Minnesota ’s Mission: To combine a culture of creativity and fiscal responsibility to produce opera and Welcome to opera education programs that expand the art ! form, nurture artists, enrich audiences, and It is with great excitement that Minnesota Opera presents contribute to the vitality of the community. Re-envision Wealth our company debut of the first installment of ’s epic Contents Ring Cycle. Das Rheingold is as vital today as it was at its 1869 premiere in Munich, . The work deals with 8 Synopsis timeless philosophical issues: the exploitation of nature, the consequences of greed, 9 Das Rheingold 625 and the interrelation of law and power. Our inventive stage director Brian Staufenbiel local and international brings a renewed pertinence to the opera by melding Wagner’s mythical realm with the 10 About the Opera artists working on stage technological era, raising questions about technology’s role in shaping our cultural identity. and off stage. 12 If necessity is the mother of invention, the artistic and creative teams at Minnesota Opera were charged with a terrific challenge: presenting this work knowing that the Wagnerian- 14 Director's Notes Romeo and Juliet, 2008 © Michal Daniel sized orchestra doesn’t fit in the pit of the Music Theater at the Ordway. Their solution, 15 The Artists I believe, is not only a breathtaking triumph, preserving all the staged drama of the piece and incorporating our musicians into the action itself, but an option that makes 19 Meet the Artist: 6,000 presenting possible for a wider complement of our sister organizations students participating in Das Rheingold Denyce Graves around the world. our education programs. 20 Upcoming Events This production places Minnesota Opera Music Director andDas Rheingold conductor 20 Social Media Michael Christie center stage — literally. The Minnesota Opera Orchestra’s integration into the scenic textures on stage enhances the music’s integral storytelling role, and creates Madame Butterfly, 2012 © Michal Daniel 21 Opera Education a musical-visual fabric reflective of Wagner’s score. We are incredibly lucky to have as accomplished an ensemble as the Minnesota Opera Orchestra, and I couldn’t be more 22 Diana's Garden Preview 42,000 excited for them to tackle Wagner’s virtuosic orchestral music. attendees to our mainstage 22 The Nightingale at the Ordway. The sheer size and scope ofDas Rheingold necessitates a massive investment of resources 24 Minnesota Opera in order to stage the work. This production is only possible because of our generous Board of Directors, community and their continued support of innovative, world-class lyric theater. Staff, and Volunteers Thank you for helping to bring this production to life. Your response and support for Turandot, 2013 © Michal Daniel this production will help us determine the next steps for our plans for the rest of the 26 Annual Fund magnificentRing Cycle. Ascent is proud to 28 Institutional Giving 44 As we conclude our 2016 performances, we eagerly look forward to all that is yet to New works premiered by th 29 Legacy Circle come this spring, and all to come the next season — our 55 anniversary! Exemplifying Minnesota Opera, including support Minnesota Minnesota Opera’s commitment to a wide range of operatic repertoire, the remainder last season’s The Shining. 29 Minnesota Opera Opera of our season offers a new production of the rediscovered gemDiana’s Garden, the Information world premiere of composer William Bolcom and librettist Mark Campbell’s Dinner at Eight, and the hit San Francisco Opera production of La Bohème. Our 55th season, to 31 Cabaret 2017 The Shining, 2016 © Ken Howard Jose Peris be announced in January 2017, promises to continue Minnesota Opera’s celebration of Regional Managing Director 31 Tempo a plurality of voices. We’re so glad that you are with us, and we look forward to sharing Direct 612.303.3141 many more nights in song together. 400,000 LARGE-PRINT AND people served annually by our Enjoy the show! BRAILLE PROGRAMS ARE opera productions, education AVAILABLE AT THE PATRON programs, and other events. SERVICES OFFICE.

Minnesota Opera Center

RYAN TAYLOR mnopera.org President and General Director DAS RHEINGOLD DAS

612-333-6669 Member FDIC. ©2016 U. S. Bank. | 5 The Richard Wagner Society (RWSUM) welcomes you to this performance of “Das Rheingold”. The RWSUM is an organization for people interested in the music of Wagner.

See wagnertc.org for upcoming events in Minneapolis / Saint Paul.

PO BOX 3804, MINNEAPOLIS, MN 55403 612.863.4319 • WAGNERTC.ORG

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| | 6 7 8 | MINNESOTA OPERA mnopera.org and Donner (god ofthunder)and Donner intercede. (god possession ofFreia, Froh ofjoy) (the god agreement, andwhen attempt they to take Wotan isunsuccessful in breaking their Fasolt andFafner arrive to their claim prize. offire, solve will herplight. god Loge, that ofanever-slick andslithery the guile forpleads her fate, but Wotan isconfident ensures eternal the youth. gods Freia also apple tree, golden whose fruit ever-so-crucial oflove andbeauty.goddess Shetends the isherthe sisterpalace magnificent Freia, price for the Fasolt giants andFafner to build wife, Fricka, urgently reminds them that the Valhalla, future home ofthe NorseHis gods. Wotan at the completed newly marvels inthe distance glimmers a castle open spaceAn onamountain; TWO SCENE to the ’gold, protestations. to stealthe manages love. Alberich boldly power over the world ifhewouldrenounce its wearer itwouldgive into aring, fashioned the maidens powers relay its magical catches Hisrevenge. and eye the Rheingold, repel flirtations. his He angrily spoutshis him, and andmock tease above. They Alberich while admires fromtheir gold, and Flosshilde, swim in the river, guarding Three Rhinemaidens, Woglinde, Wellgunde the bedOn of the Rhine River ONE SCENE SYNOPSIS — if his normal guise andistaken normalhis guise prisoner. seizesthe helmet.Alberich returnsLoge to andthen at asmalldragon toad, point which over-confidenttyrant first changes into a large for ademonstration. asks and size.Loge The has theit also power to make him any shape confident the Tarnhelmas him protect will he sleeps statingthe ring, that safeas notbe itwill to best con Alberich his out does of Loge of the Relying on their ring. association, past miners, the a result Nibelungs, as of the power atyrant overhas the become professional underground chasm andlearn that Alberich wearer andWotan invisible. Loge enter his Tarnhelm, helmetthat amagic renders its Alberich taunts brother his Mime with the the Nibelheim The subterranean caverns of SCENE THREE untilhostage hedoes. Rheingold ifWotanfrom the bargain them can get the Fasolt andFafner Freia release will they agree another them way to get out ofthe bargain. promises to find Loge it isnotconfiscated. power.be slaves will all to Alberich if They the one to andits possess the mythical gold Wotan confers with Loge Asthe brothersgold. discuss the matter, with thoughts ofobtaining the Nibelung arrives belatedly,Loge andtempts the giants — — his slaveshis may Alberich rebel. is however, a heldas be shewill — he must be

advice of the earth, rises andrenders motherly butwell, Wotan the Erda, refuses. goddess the parting easier. demand They the ringas to obscure enough her andmake beauty high including thethe Tarnhelm, gold, piled be Fasolt andFafner return with Freia andinsist anddeath to thosemisery who possess it. curse on the all-powerful ring Nibelungs to gather the hoard andputs a finger.on his commandsAlberich all the including the ring gold, demands ofhis all In exchange for Alberich’s Wotan freedom, open spaceAn onamountain FOUR SCENE loss of their gold. loss oftheir gold. entrance. TheRhinemaidens lament the cross over the bridge rainbow the river to its to Valhalla admire theirnew gleaming and bettergods off without then it.The turn powerevil ofthe ring about the temptation eulogizes andLoge keep the Rheingold, andFasolt iskilled. The brothers then brawl over who shall and reluctantly heconcedes. Wotan beg other gods up tothe give ring avoid eternal andwretchedness. doom The — turn the ring over to them and ▪ — they wouldbe they — it will bringit will

Costume Designs by Mathew LeFebvre Used byarrangementwithEuropeanAmerican MusicDistributorsCompany,soleU.S.andCanadianagentforSchottMusic, Mainz,Germany,publisherandcopyrightowner. SEASON SPONSOR st; and Christopher Colmenero, The appearancesofDenyce Graves,grandprizewinner;Kyle Albertson, nationalsemifinalist;Alexandra Razskazoff,regionalfinalist;andChristopherColmenero, The appearancesofthe ResidentArtistsaremadepossible,in part,bytheVirginiaL.StringerEndowment FundfortheMinnesotaOperaResidentArtist Program. Brian Staufenbiel Brian Staufenbiel Michael Christie Nathan Berg Fayad Nadia Razskazoff * Alexandra Mary Evelyn Hangley A NIBELUNG A RHINEMAIDEN A RHINEMAIDEN A RHINEMAIDEN CONCEPT PRODUCTION STAGE DIRECTOR CONDUCTOR ALBERICH FLOSSHILDE WELLGUNDE WOGLINDE NOVEMBER 12, 15, 17, 15, 12, NOVEMBER 19, 20, 2016 AND nd district finalistofthe MetropolitanOperaNationalCouncilAuditions, aremadepossiblethroughaMinnesota OperaEndowmentFund * Sung inGerman with English translations projected the stage above MUSIC AND LIBRETTO BY RICHARD WAGNER BY RICHARD MUSIC LIBRETTO AND

* MINNESOTA OPERA RESIDENT ARTIST MEDIA PARTNER World premiere at the Königliches Hof- und Richard WagnerDasRheingold |ReducedorchestrationbyGottholdEphraim Lessing Nicole Pearce Mathew LeFebvre David Murakami Wolverton ** Karin Greer Grimsley Katharine Goeldner wotan’s wife AND BEAUTY GODDESS OF YOUTH RULER OF THE GODS DOMESTIC VIRTUE GODDESS OF LIGHTING DESIGN COSTUME DESIGN VIDEO DESIGN PROJECTIONS AND FREIA WOTAN FRICKA This productionwillusetheatricalfogand atmospherichaze. established for Artist Enhancement by Barbara White Bemis. established forArtist EnhancementbyBarbaraWhiteBemis. Nationaltheater, Munich Creative Team Creative

IN ORDER OF VOCAL APPEARANCE September 22, 1869 LEAD PRODUCTION SPONSORLEAD

Cast *

RESIDENT ARTIST Jonathan Brandani * Jonathan Toro * Radamés David David Zimmerman ** Albertson Kyle Colmenero * Christopher Julian Close fasolt’s brother Jeremy Galyon GOD OF THUNDER GOD OF JOY A GIANT A GIANT CONDUCTOR ASSISTANT ASSISTANT DIRECTOR MAKEUP DESIGN WIG AND DONNER FROH FAFNER FASOLT | ORDWAY MUSIC THEATER

|

**

FORMER RESIDENT ARTIST

Christopher Bergen Kerry Masek Woodward * Lindsay Hall Jessica Denyce Graves Dennis Petersen Richard Cox GODDESS OF THE EARTH ALBERICH’S BROTHER DEMIGOD OF FIRE ENGLISH CAPTIONS MANAGER PRODUCTION STAGE RÉPÉTITEURS ERDA MIME LOGE Running timeis approximately 2

ESTIMATEDRUNNING TIME 33 minutes, with no intermission. *

hours and hours and

9 | DAS RHEINGOLD ABOUT THE OPERA ABOUT THE OPERA

Brünnhilde, to be imprisoned in a circle of able to be physically present, Wagner made magic fire. Finally, the composer felt it necessary every effort to sabotage the productions in to introduce the source of all discord ­— the absentia, but there was little he could do. cursed gold, stolen from the Rhinemaidens, Ludwig rightfully owned the property. forged into a ring of power, stolen from the original thief, and reluctantly given to the two After this experience, Wagner delayed the brother-giants who have constructed Valhalla, completion of his third opera in the series, one of whom kills the other in the name of , and moved on to other projects. greed. That becameDas Rheingold. He began to conceive a festival opera house to present his Ring tetralogy over several Although the text of the Ring’s four parts days. Ludwig offered to build him a theater was written by the composer in reverse order, to the composer’s specifications, but the Das Rheingold was the first to be composed, politics in Munich were still rather uneasy. and the others (Die Walküre, Siegfried, Wagner sought a “destination” locale and and Götterdämmerung) followed suit. The found Bayreuth to be ideal. The city had an entire Ring lasts some 15 hours long and was old Baroque theater, unsuitable to Wagner’s er Ring des Nibelungen ­— a composed over a 26-year period. The full vision, so he moved forward, stealing monumental opus in the canon cycle involves 36 characters, 34 scenes, and ’s design for the proposed of art and music. In spite of (if the orchestra can be large enough) Munich theater (Semper also designed one’sD personal opinion of Richard Wagner’s as many as 124 players. the Dresden venue that saw three Wagner character, his epic saga speaks volumes and premieres) and built his ideal venue. The has inspired many notable composers since its One prominent aspect of the Cycle is the theater had continental seating (with no premiere. The tetralogy poses both a challenge . Remembrance melodies had been aisles), gas lighting (still quite modern at and a reward for any opera company. previously used in operas, especially in the time), and a sunken orchestra pit (some overtures (although not always), but Wagner commentators assert it was the first of its Spawned, if indirectly, from revolution, the was to harness them in a more codified kind). The main focus was intended to be Ring evolved from the European uprisings manner. Certain uncomplicated phrases the action onstage. of 1848. Wagner became involved with occur with frequency, associated with a Saxon incendiaries with his own beliefs on particular character, thought, or thing. The The first festival took place in 1876, starting how the classical scene should be executed. orchestra ends up telling the story as much August 13 with Das Rheingold. Over the He was attracted to the Poetic Edda, among as any character on stage, enriching the next few days, nearly all of the musical other sources, in part because the Norse gods dramatic action. (Incidentally, the leitmotif intelligentsia of the day attended, with appeared to represent autocracy, while the was not a term coined by Wagner.) varying responses. Still, the influence had Nibelungs could be described as the oppressed been great, as other composers began to people. Typical of his other life experiences, Out of the many gods, Wotan becomes a incorporate “reminiscence” themes into Bildagentur/Elke Walford/Art Resource, NY Resource, Walford/Art Bildagentur/Elke Wagner was forced to flee Germany ­— many curious figure in the entireRing . Far from the their works, leading to accusations of being of his compatriots were not as lucky, as several thunderbolt-throwing Greek god Zeus, he “Wagnerian.” Sadly, the enterprise was a were imprisoned for lengthy terms. acquires a more natural presence as he moves financial failure, although Ludwig eventually through the celestial world. In exchange for funded him with 100,000 thalers in order Exiled in Zurich, the composer began to one of his eyes, he acquires knowledge, and to recover. Still, there wasn’t another Ring flesh out his conception.Siegfrieds Tod was carves his spear out of the World Ash Tree, a in Wagner’s lifetime. Wagner was able to use the result, involving the death of the great supreme force. We don’t exactly know Wotan’s his unique festival hall for the premiere of hero by betrayal, the Valkyrie Brünnhilde’s youthful past, but in his search for humanity, in 1882, then died the following year. immolation to purify humankind, the return he appears to seek wisdom rather than power. of the Rheingold to its rightful owners, and His antithesis, Alberich, ruthlessly attempts to The composer’s wife, Cosima, and her the end of the gods’ rule. Having written achieve the reverse with no regard for others. son Siegfried, took over Bayreuth, and this scenario, Wagner found that he needed revived the Ring in the following years. a bit of a backstory. In Der junge Siegfried, As was his custom, Wagner doubly sold the Both died in 1930, and the event fell to mnopera.org rights to his endeavor. His most generous Siegfried’s British widow, Winifred, a Nazi he describes the young man’s adventures, his | bpk Kunsthalle ) | Hamburger ( 1836–1904 Henri Fantin-Latour killing of the dragon Fafner (who first appears patron, Bavarian King Ludwig II, was eager sympathizer. The association with Adolf | as a giant, but is later transformed, presumably to produce the Cycle, as he already had done Hitler became a dark stain on the house’s by the Tarnhelm), and his meeting and love with and Die Meistersinger future, only to be restored by innovative of Brünnhilde. Feeling the need to introduce von Nürnberg. By then, Wagner had been (and sometimes controversial) productions the wayward Valkerie and her relationship exiled from Munich, thanks to his own by future heirs. Bayreuth continues to be a machinations among other government pilgrimage for faithful Wagner aficionados MINNESOTA OPERA MINNESOTA to her father, Wotan, Wagner constructed RHEINGOLD DAS

| Die Walküre, events surrounding the parents officials. Without Wagner’s involvement, across the world. ▪ | 10 of Siegfried, unknowing siblings also sired the monarch produced Das Rheingold in 11 by Wotan, and his eventual banishment of 1869 and Die Walküre in 1870. Not being 1876 . ca. the Rhine. of The Daughters COMPOSER COMPOSER

The family moved to Dresden and continued the previous theater and had since parted but there was no place to have it suitably confidante of Napoleon iii and his empress. But Ludwig’s lavish attention and Wagner’s its close link to the theater — two sisters from her new husband. Sadly, the Riga performed. Thus, he spent the years that Her influence led to the Emperor’s command own theatrical machinations created an Richard became actresses and his brother became an appointment didn’t last, though Minna followed extolling his philosophies and performance of Tannhäuser in 1861 at the anti-Wagner faction among the court operatic tenor. Young Richard didn’t show soon joined him, apparently forgiven. Debts artistic ideologies on paper. It was also during Paris Opéra, which would become one of the advisors. The cabinet threatened to resign if Wagner promise for much of anything at first, school had become critical, putting the couple this period that Wagner began to think about greatest theatrical scandals of the 19 th century. the composer was not removed, a condition being of little interest, and piano lessons in a precarious position. The escape plan the Ring Cycle. Two of Wagner’s greatest Following a riotous premiere, initiated by to which Ludwig was forced to agree, and were infrequent. But at age 15 he unveiled an involved traveling to Paris undetected in achievements during his years in Zurich were the disenchanted legitimists of the Parisian Wagner returned to Switzerland, although ambitious secret project, a five-act tragedy order to unveil the composer’s new grand the completion of Das Rheingold and Die Jockey Club, the opera was withdrawn after the king continued to pay his bills. That entitled Leubald und Adelaïde, drawn opera, — its success would eliminate Walküre. He also cultivated an auspicious only three performances. winter, after several years of separation, from works of Shakespeare and Goethe. all financial burdens. Their passports friendship with , whom he Minna Wagner died. In spite of their silent Apparently this endeavor had substituted impounded, Richard and Minna slipped had first met in Paris. Liszt’s experiments Wagner returned to Germany, having animosity, Richard had continued to provide for his studies. away in the dead of night to begin a long and in chromaticism would have a profound achieved partial amnesty. His next objective support, and the couple did not divorce. dangerous sea voyage that would provide impact on Wagner’s future compositional was to get Tristan staged in Karlsruhe and Cosima soon joined him at , his Wagner was mostly self-taught as a composer, the impetus for Wagner’s fourth opera, Der style, and the famed pianist was helpful in Vienna, but he had little luck. Over the new Swiss home, with her three children. By though he did attend the University of Leipzig fliegende Holländer (The Flying Dutchman). getting staged at the Weimar Court following years he continued to travel the 1867 the couple had produced another child, as a student of music. These months were Theater in 1850. cities of Europe as plans for a new opera Eva, though christened “von Bülow,” was spent drinking, dueling, and gambling — he The next two and one half years in Paris germinated inside his head, based on the song raised as a Wagner. had once bet his mother’s meager monthly proved disappointing. Both Rienzi and TheRing Cycle was put on temporary contests of the legendary mastersingers. pension. Brother Albert managed to find him The Flying Dutchman were completed but hiatus as Wagner turned to Tristan und Die Meistersinger von Nürnberg was premiered a position as chorusmaster in the town of not accepted by any theater. He was by Isolde. The opera was motivated in part by By 1864 the composer had hit rock bottom, in Munich in 1868 and was an artistic triumph. Würzburg. Richard quickly composed his first now gravely in arrears and threatened by a romantic entanglement the composer had desperately in debt and his friends virtually But Ludwig, not completely blind to the opera, after Carlo Gozzi’s dramatic debtors’ prison on more than one occasion. with Mathilde Wesendonck, the wife of his tapped out. He had already sold the rights composer’s obstinate personality, began to cool fairy tale, La donna serpente, and set to his When Rienzi was accepted by the Dresden Zurich benefactor. She was impressed by his to his completed operas (sometimes to their relationship. The scandal of Richard own libretto (an attribute of all of his future Court Theater the Wagners left France, genius, and he needed a woman who truly more than once) and mortgaged on the and Cosima’s adulterous affair hadn’t helped, B. Leipzig, May 22, 1813 works for the stage). Subtitled a “Romantic and the opera’s successful premiere led to understood his artistry, something his more proceeds of his future works. The outlook though she was finally able to divorce her D. Venice, February 13, 1883 Opera in Three Acts,” it was imitative of the an appointment for the composer as the custodial relationship with Minna had failed appeared bleak, yet a miracle was about husband to marry Wagner after Minna died. German fantastic style made popular by Carl city’s kapellmeister. to provide. Minna discovered the affair, and to occur — Wagner had attracted the Von Bülow withdrew from the upcoming Maria von Weber and Heinrich Marschner. after an angry scene at the Wesendoncks’ villa attention of newly crowned King Ludwig Munich premiere of Das Rheingold, which he ichard Wagner’s paternity will Yet, the Stadttheater refused to mount Wagner’s Dresden years were certainly better (the Wagners were staying in a small house ii of Bavaria. The young monarch had been had been engaged to conduct. Wagner turned always remain one of opera’s most the work, believing it would not meet the than those spent in Paris, yet the composer on the property), she returned to Dresden in awe of Wagner’s genius for some time, his attention to creating a festival devoted only tantalizing mysteries. His father, tastes of its public, who tended to show a blanched at the notion of civil service and Richard went to Venice, then Lucerne, and one of his first official acts was to send to his music in the city of Bayreuth, and the CarlR Friedrich, had a passion for the theater th preference for French and Italian works. A as a court employee. ThoughThe Flying where he completed Tristan in peace. for the 51-year-old composer, set him up in cornerstone was laid on May 22, 1872, his 59 (naming four daughters after heroines of second opera, (1836), based Dutchman would also have its premiere a home close to the royal palace, and pay birthday. Surprisingly he was able to mend the Goethe and Schiller), and as a consequence on Shakespeare’s Measure for Measure and there, the composer really had his sights But there was no real hope in seeing the opera off his most urgent liabilities. Ludwig then fence with Ludwig, who supplied a loan of took in an actor, , to help defray written more in the Italian style, did receive a set on the Prussian capital of Berlin. Still, staged, and Wagner realized he had to relocate gave him a generous allowance, and Wagner 100,000 thalers to save the project and later the cost of raising a large family. It appears premiere in Magdeburg, albeit a tumultuous he made do for the moment and focused to a large city in order to recoup some of his turned to finishing hisRing Cycle. underwrote the festival’s deficit. Geyer fancied Friedrich’s wife, Johanne, and one. Nonetheless, the theater invited Wagner on completing his fifth opera,Tannhäuser, financial losses. Germany was still hostile may have been the real father of Richard — as to become the music director of its summer which premiered at the court theater in 1845 territory, so Wagner looked back to Paris. At The more pressing issue was to mount the The composer’s last project for the stage was it happened, Friedrich died shortly after season, and it was there he met his first wife, to a baffled audience. first he approached Léon Carvalho, hoping to yet-unseen Tristan und Isolde, which Ludwig Parsifal which, in 1882, he programmed as the Johanne became pregnant, and when Richard , an actress with the company. get Tannhäuser mounted at the impresario’s was quick to put into rehearsal. At about the festival’s only work. Ludwig put the artistic was born, Ludwig and Johanne soon married. Unfortunately, the theater went bankrupt The year 1848 brought political change Théâtre Lyrique. Carvalho was clearly startled same time, the composer had struck up an resources of his Hoftheater at the composer’s As a result, Richard bore the surname Geyer (which would be a common problem with around Europe, and Wagner took an active by the opera’s unusual score, but was not amorous relationship with Cosima, daughter disposal. The opera’s completion took a heavy for his first few years, and later in his life it Wagner’s successive appointments), and the part. As a consequence of his revolutionary reluctant to promote Wagner’s cause in Paris. of Franz Liszt and wife of conductor and toll on the composer’s declining health. After was remarked that he looked more like a marriage would prove to be a stormy one. friends and his own ideas on theater reform, The composer had the good fortune to attract Wagner disciple Hans von Bülow. It is the festival he and his family (which now portrait of his stepfather than his supposed the composer found himself embroiled in the notice of Princess Pauline Metternich, commonly believed that Isolde, Cosima’s included a young son, Siegfried) took up real one. Some have attempted to trace the After another short engagement in a Dresden political coup, which led to his wife of the Austrian ambassador and third child, was fathered by Richard. residence in Venice to recuperate, but it was too name to possible Jewish roots (one of several Königsberg, Wagner moved to Riga to banishment from the Kingdom of Saxony. late — Wagner would succumb to his final heart unattractive aspects of the composer’s adult assume the posting of music director. His Finding refuge in Switzerland, he spent attack in February of the subsequent year. mnopera.org personality was his anti-Semitism) but have ▪ bride of six months was already involved the next eleven years exiled from Germany. yet to put forth a firm case. in an adulterous affair with a patron of Lohengrin had just been completed, NY Art Resource, at Dagli Orti/The Art | Alfredo Archive Bayreuth Museum Wagner ) | Richard ( 1836–1904 Lenbach von in 1882 | Franz Wagner Richard

MINNESOTA OPERA MINNESOTA DAS RHEINGOLD DAS

“ | Wagner was mostly self-taught as a composer ...” | 12 13 DIRECTOR'S NOTES THE ARTISTS

agner’s world of flawed In putting Rheingold on the stage, I presence creating a musical-visual fabric. This Kyle Albertson Nathan Berg Michael Christie gods, aspiring demigods, was inspired by Wagner’s philosophy of freed us to use the split-level pit to represent donner alberich conductor and power-mad dwarves — total work of art — and the Rhine and the underworld of Nibelheim. Kyle Albertson is renowned Hailed as “an extra-ordinary Michael Christie became Wpresents a formidable challenge for that accumulative notion informed the As you’ll see, the singers and orchestra will not only for his versatile actor” (Forum Opéra), music director of Minnesota modern sensibilities. So in mounting this concept for this new production. The be immersed in luminous projections, images voice, confidence, and style, theatrically “cinematic” Opera in September production of Das Rheingold, I sought to Ordway gave us the opportunity to integrate that create a framework of backstories and but also for his ability to (Classique News) and with 2012. Before coming to connect Wagner’s mythical realm with the the orchestra into the scenic textures enhance Wagner’s expansive compositional bring a character to life on “impeccable” technique Minnesota, he served as stage. Of his recent role debut as Bartolo in music director of the Phoenix Symphony (2005– mysterious complexities of our technological onstage, with the orchestra’s physical technique — leitmotifs — to support and Il (Opera News) Canadian bass- Nathan at Fort Worth Opera, 2013), the Brooklyn Philharmonic (2005–2010), era. The action takes place in a future develop the storytelling. barbiere di Siviglia The Berg’s career to date has encompassed a Dallas Morning News raved, “With a drop- vast range of styles and repertoire, and he the Queensland Orchestra (Brisbane, Australia; where science and technology have caught dead gorgeous bass-baritone, Kyle Albertson is is in demand by some of the world’s most 2000–2004), and the Colorado Music Festival in up with nature, where the organic, the Wagner considered Das Rheingold a younger than the usual Dr. Bartolo, but he’s no distinguished conductors and opera companies. Boulder (2000–2013). mechanical, and the digital have started prelude (vorspiel) to the three operas that less delightful an object of mockery.” In recent seasons, Nathan has added multiple “... I sought to connect Recent opera engagements have included to fuse. Indeed, the distinction between followed, making the complete Ring Cycle. dramatic roles to his repertoire, including the This season, Mr. Albertson makes several debuts, productions with Opera Theatre of Saint Louis biological processes and industrial artifice In Rheingold we see of the title role in Der fliegende Holländer in his Bolshoi Wagner’s mythical including that of Sharpless in Madame Butterfly (Alice in Wonderland, The Ghosts of Versailles, has almost ceased to exist. Gods are part- magic Ring and are introduced to the salient Theatre debut; Alberich Das( Rheingold) with at Northern Lights Music Festival; a house debut and The Death of Klinghoffer), Wexford Festival man, part-machine, and dwarves aspire to elements that propel the entire cycle. It’s an Seoul Philharmonic Orchestra; and the Doctor realm with the at Lyric Opera of Chicago for its production of Opera (Silent Night and The Ghosts of Versailles), epic story that very much has the power to () with the bbc Scottish Symphony reign supreme by mining the technology of Das Rheingold; Lieutenant Horstmayer in Silent Minnesota Opera (Roméo et Juliette, The Shining, mysterious Orchestra and Netherlands Radio Philharmonic the past — semiconductors and computers. speak to our time. Night with Opera San Jose; and DeGuiche in Ariadne auf Naxos, , and Rusalka, ▪ Orchestra. In 2016, he performed in Bluebeard’s Technology permeates all aspects of existence Cyrano with Michigan Opera Theatre. Recent among others), and Aspen Opera Theatre The( complexities of our Castle for Teatr Wielki and the Water Sprite and identity, and status is measured by one’s BRIAN STAUFENBIEL operatic engagements include performances Ghosts of Versailles and West Side Story). He has (Rusalka) for ’s National Centre for the degree of technological assimilation. Stage Director with the as Masetto in Don also conducted at Opéra de Montréal and Opera technological era.” Performing Arts. Later that season, he made Giovanni and in productions of Le nozze di (Silent Night) and Lyric Opera of his company debut for Semperoper Dresden as Figaro, Die Zauberflöte, Dialogues des Carmélites, Chicago (Rising Stars). He made his San Francisco Zoroastro () and the upcoming season and The Merry Widow; two productions of Opera debut with the world premiere of The Gospel includes his Salzburg Festival debut as the King Manon with as well as the of Mary Magdalene, and in 2017, he continues his in Handel's , performing alongside Sacristan in Tosca and Mr. Rodriguez in Past the symphonic conducting activities as well as making . Checkpoints; and with Dallas Opera as Zuniga in debuts at Washington National Opera (Dead Man , among others. Walking) and at Santa Fe Opera, leading the world premiere of The (R)evolution of Steve Jobs. FORMER MINNESOTA OPERA RESIDENT ARTIST

Julian Close Christopher Richard Cox fafner Colmenero loge Noted as having “a rich voice froh American tenor Richard that appears to come from Tenor Christopher Cox possesses a remarkable the center of the earth,” Colmenero begins his first voice that combines lyric as well as, simply “a voice season as a Minnesota and heroic qualities, and to die for,” British Bass Opera Resident Artist, is equally suited to opera, Julian Close has appeared at several esteemed singing Benvolio in Romeo and Juliet and Froh concert, and recitals. This season, he makes opera houses throughout his career including in Das Rheingold. He also covers the title role his role debut as Loge in Das Rheingold with the Royal Opera House – Covent Garden, of Roméo, and later, Rodolfo in La bohème. Minnesota Opera and North Carolina Opera; , , Other engagements include performing Judge joins I Musici de Montréal Chamber Orchestra Opera North uk, Scottish Opera, and the Danforth in ’s The Crucible for for Das Lied von der Erde; and makes his Hawaii Wexford, Buxton, Longborough, and English Purchase Opera and Carlson in ’s Opera Theatre debut as Mitch inA Streetcar Bach Festivals in a wide range of roles. He has Of Mice and Men for the Phoenicia Festival. Named Desire. performed at , Royal Albert Hall, Mr. Colmenero also sang Pablo Neruda in Recent opera engagements have included Laca in Barbican Centre, and Bridgewater Hall. Daniel Catán’s Il Postino at Mannes Opera, as for Des Moines Metro Opera; a semi-staged well as the Male Chorus in Britten’s The Rape Jenufa with the A Wagner specialist, Mr. Close performs of Lucretia, and the title role in Stravinsky’s Peter Grimes Orchestra; a debut with Washington National Hunding in Die Walküre and Hagen in Mavra. At the Purchase College Conservatory Götterdämmerung with Saffron Opera u.k.( ) of Music, where he received both his bachelor’s Opera in ; Kalaf in Busoni’s mnopera.org Turandot for the Bard SummerScape Festival; and also returns to the Metropolitan Opera for and master’s degrees, he performed the roles of and Bacchus in , Sergei in productions of Rigoletto and . Prince Charmant in Cendrillon, Tamino in Die Ariadne auf Naxos Lady , and Tichon in He later sings at Welsh National Opera in Der Zauberflöte, and Rinuccio in . He Macbeth of Mtsensk Káta Kabanová Rosenkavalier and From the House of the Dead. was also a studio artist at Chautauqua Opera in at the Teatro Municipal de Santiago; Froh in Das Recent engagements include a debut with 2014. Christopher has distinguished himself as a Rheingold, Malcolm in Macbeth, the First Armored Washington National Opera as Fasolt in Der district finalist at the 2016 Metropolitan Opera Man in Die Zauberflöte, and the Celebrant in Nico Ring des Nibelungen, as well as a return to the National Council Auditions. Muhly's Two Boys at the Metropolitan Opera; Don José in a student performances of Carmen at

MINNESOTA OPERA MINNESOTA Metropolitan Opera as the Theater Manager/ DAS RHEINGOLD DAS

| | Production concept by Brian Staufenbiel Brian by concept Production Banker in Lulu. He first joined the roster of the MINNESOTA OPERA RESIDENT ARTIST the Lyric Opera of Chicago; and the title role in 14 Metropolitan Opera in 2 011, singing in Prince Samson et Dalila at the Opera. 15 Set design by William Boles William by design Set Igor and has returned subsequently every season. THE ARTISTS THE ARTISTS

Nadia Fayad Jeremy Galyon Katharine Mathew LeFebvre David Murakami Nicole Pearce flosshilde fasolt Goeldner costume design projections lighting design Mezzo-soprano Nadia Fayad Applauded for his fricka Off-Broadway – Signature and video design Nicole Pearce has previously is quickly gaining recognition “robust and charismatic The New York Times Theatre Company:Two David Murakami is a worked for Milhaud for her rich and earthy sound, performances” by the San has praised her voice as Trains Running; New York projection designer, Opera with Mark Morris with expressive musicality in Francisco Chronicle, Jeremy “excitingly radiant and Theatre Workshop:Bach at screenwriter, and film and designed sets of The her lower register. Galyon continues to impress agile.” Newsday applauded Leipzig. Minneapolis – director focused on Magic Flute for City Opera audiences and critics alike in both the bass and her “liquid plangent tones … crystal-clear diction Minnesota Opera: La fanciulla del West; integrating emerging technologies with Education. Selected dance credits include work Ms. Fayad was recently an apprentice with Santa bass-baritone repertoires. His 2016–2017 season and contained, but simmering, intensity.” With Guthrie Theater: more than 25 productions traditional stage performance. Past designs with choreographers Mark Morris, Jessica Lang, Fe Opera, where she covered the role of the includes Morosus in The Silent Woman with an elegant combination of warm, rich vocal tone, since 1998 including A Christmas Carol, Roman include Dead Man Walking, Champion, Peter Aszure Barton, Robert Battle, Andrea Miller, Baroness in Barber’s Vanessa and sang in Roméo Opera Theater of Pittsburgh; Il Commendatore and assured artistry, Katharine Goeldner has Holiday, When We Are Married, The Importance Pan, The Little Prince, Heart of Darkness, and John Heginbotham, Brian Brooks, Alexander et Juliette. In 2015, Ms. Fayad was a studio artist and Masetto in Don Giovanni with New Orleans established an international reputation as one of of Being Earnest, 1776, She Loves Me, The Night Trouble in Tahiti, along with the American Ekman, Kyle Abraham, and Annabelle Lopez- with Wolf Trap Opera, appearing as the Woman Opera; Osmin in The Abduction from the Seraglio today’s finest mezzo-sopranos. of the Iguana, A School for Scandal, Sweeney premieres of Anya 17, Heart of Darkness, and Ochoa, and companies such as the American with Hat in Corigliano’s The Ghosts of Versailles with Dayton Opera; Sarastro in The Magic Flute Todd. Regional – Milwaukee Repertory the world premiere of Luis Valdez’ Valley of the Ballet Theater, Joffrey Ballet, Atlanta Ballet, and La Zia in Katharine’s most recent appearances include Das Madame Butterfly. with the Rapides Symphony Louisiana; and Theatre, Kansas City Repertory Theatre, Heart. In addition to his work with Minnesota Houston Ballet, Ballet, Finnish National Lied von der Erde with the Royal Ballet at Covent Nadia recently received a Master of Music from Sparafucile in Rigoletto with Western Plains Cincinnati Playhouse in the Park, American Opera, David is currently designing Zoot Suit Opera, Gallim, Mark Morris Dance Group, Garden; Amneris in at Utah Opera; the title Rice University, where she performed the leading Opera as well as covering in Salome and Der Players Theatre, Penumbra Theatre, The Old at the Mark Taper Forum, Flight with Opera Alvin Ailey American Dance Theater, and role of Carmen at Lyric Opera of Chicago and Rosenkavalier at the Metropolitan Opera. Globe, Oregon Shakespeare Festival, The Parallèle, and directing his sixth feature-length Nederlands Dans Theatre. Selected theater role of Hänsel in Hänsel und Gretel, Melantho the Savonlinna Festival; Jacqueline Onassis in the in Il ritorno d’Ulisse in patria, and Hippolyta Acting Company, Arizona Theatre Company, filmMorningstar . credits include work with directors Edward Other recent operatic roles include Fafner in Das world premiere of JFK at Fort Worth Opera; and in A Midsummer Night’s Dream. She received Geffen Playhouse, Children’s Theater Company, Albee, Leigh Silverman, Trip Cullman, Pam Rheingold with Pacific Opera Victoria; Sarastro Peggy Ophuls in the world premiere of Shalimar WWW.DAVIDMURAKAMI.COM her bachelor’s degree at the Eastman School of Theatre de la Jeune Lune; Great American MacKinnon, Maria Mileaf, Jade King Carroll, in Die Zauberflöte with Dayton Opera; La Roche the Clown, based on the Salman Rushdie novel, at Music, where she sang the roles of Madame de History Theatre; and Mixed Blood Theatre. and Ed Sylvanus Iskandar, as well as with in Capriccio, Bartolo in Le nozze di Figaro with Opera Theatre of Saint Louis. Later this season, Croissy in Dialogues des Carmelites, Mrs. Jones in Awards – 2014–2015 McKnight Theater companies such as The Cherry Lane, The Play Opera Theatre of Pittsburgh; Sarastro inDie Katharine joins The Orchestra Now at Carnegie , and Medoro in . Artist Fellow, Ivey Award, 2012 tdf-Irene Company, LAByrinth Theater Company, Long Street Scene Orlando in Kaosiung, Taiwan; Zuniga in Hall in Shostakovich’s Songs from Jewish Folk Poetry; Zauberflöte Sharaff Young Master Award, audelco award Wharf, Hartford Stage, Philadelphia Theater with Opera Grand Rapids; the Bonze she returns to Lyric Opera of Chicago as Mme. As a Minnesota Opera Resident Artist this Carmen nominee. Teaching – Professor of Costume Company, and Two Rivers Theater. in , Blitch in , and Larina in Eugene Onegin; she sings Ma Joad in The season, Nadia sings Gertrude in Roméo et Juliette, Madama Butterfly Susannah Design at the University of Minnesota. Flosshilde in Das Rheingold, Cloe in Diana’s Ramfis in Aïda with Berkshire Opera; and the Grapes of Wrath for Opera Theatre of Saint Louis; WWW.NICOLEPEARCEDESIGN.COM Garden, and Tina in Dinner at Eight. Fifth Jew inSalome with Opera San Antonio. and she makes her role debut as Dalila in Samson et Dalila for . Katharine debuted at MINNESOTA OPERA RESIDENT ARTIST Minnesota Opera as Queen Gertrude in Hamlet.

Denyce Graves Greer Grimsley Mary Evelyn Dennis Petersen Alexandra Brian Staufenbiel erda wotan Hangley mime Razskazoff stage director Recognized worldwide as one Bass-baritone Greer woglinde Hailed by the Chicago wellgunde and production concept of today’s most exciting vocal Grimsley is internationally As a first-year Resident Tribune as a “wonderfully Originally from As the creative director stars, Denyce Graves continues recognized as an Artist, soprano Mary natural singing actor,” Minneapolis, soprano and stage director for San to gather unparalleled outstanding singing actor Evelyn Hangley appears through his innate sense Alexandra Razskazoff joins Francisco-based Opera popular and critical acclaim and one of the most as Lady Capulet in Romeo of style, command of Minnesota Opera this Parallèle since 2007, Brian in performances on four continents. USA Today prominent Wagnerian singers of our day. and Juliet, Woglinde in Das Rheingold, Miss languages, and superior acting abilities, tenor season, singing Wellgunde in Das Rheingold, Staufenbiel works across a wide range of artistic identifies her as “an operatic superstar of the 21 st Continuing his reign as a leading interpreter of Copeland in the world premiere of Dinner at Dennis Petersen is sought after for a variety of Britomarte in Diana’s Garden, Miss Alden in disciplines. His innovative approach to stagecraft century,” and the Atlanta Journal-Constitution Wotan, he has sung the role for the Met’s Der Eight, and Musetta in La bohème. Most recently, operatic roles. More recently he is being noted for William Bolcom and Mark Campbell’s world has garnered a steady stream of critical acclaim for exclaims, “If the human voice has the power to move Ring des Nibelungen as well as for Seattle Opera, she spent her summer as part of San Francisco his foray into some of the most eminent dramatic premiere of Dinner at Eight, and Musetta in La the company’s productions, which have included you, you will be touched by Denyce Graves.” The his third complete cycle for the company in the Opera’s prestigious Merola Opera Program, tenor roles in the repertoire, such as Tristan bohème, while covering Juliette in Romeo and Heggie’s Dead Man Walking, the American mezzo-soprano’s career has taken her to the world’s last decade. His interpretation of Wotan has also singing #2 in Conrad Susa’s Transformations and in Tristan und Isolde, Florestan in Fidelio, the Juliet. This past summer, she was an apprentice premiere of O’Regan’s Heart of Darkness, great opera houses and concert halls, and she has brought him to opera houses around the world, performing scenes as Atalanta in Serse and as the Captain in Wozzeck, Aegisth in Elektra, Canio artist at Santa Fe Opera for a second season. Harbison’s The Great Gatsby, Glass’ Orphée, become well-known for the title roles in Carmen and including Deutsche Oper Berlin, Gran Teatre del title role in Arabella. Previously, Ms. Hangley in Pagliacci, and the title role in Peter Grimes. He Credits include the First Lady in Die Zauberflöte Golijov’s Ainadamar, Gorb’s Anya 17, Berg’s Samson et Dalila. These signature roles have brought Liceu, and Nikikai Opera. was an apprentice artist at Sarasota Opera, has sung several previous roles with Minnesota and the Countess in Le nozze di Figaro at Wozzeck, Davies’ The Lighthouse, and Blanchard’s Ms. Graves to the Metropolitan Opera, Vienna performing scenes from the roles of Nedda Opera, most recently Herod in Salome. Juilliard Opera Theater, where she has pursued Champion (in collaboration with the SFJazz Other great Wagner roles include the Dutchman Staatsoper, Royal Opera House – Covent Garden, in I pagliacci, Donna Anna in Don Giovanni, a Master of Music in vocal performance. At the Center). This season, Staufenbiel will helm two with Seattle Opera and Ravinia Festival; His debut with the Seattle Opera as Mime in Opéra de Paris, Bayerische Staatsoper, Arena di Lida in La battaglia di Legnano, Giselda in I Peabody Conservatory, where she received her new productions for Opera Parallèle, Dove’s Flight Telramund in at the Met, Royal both and brought the Verona, Deutsche Oper Berlin, Opernhaus Zürich, Lohengrin Lombardi, Fioretta in I Medici, and Margarita Das Rheingold Siegfried bachelor’s degree, she sang Blanche de la Force in and Glass’ Les enfants terribles. mnopera.org Danish Opera, Lyric Opera of Chicago, and highest accolades from Ring fans and critics alike. Teatro Real, Teatro Colón, the Festival Maggio in Mefistofele. She also performed Frau Fluth Poulenc’s Dialogues des Carmélites, Donna Elvira in Seattle; Kurwenal in with He returned in 2013 and was once again praised Besides his work with Opera Parallèle, Brian Musicale, and to the cities of San Francisco, Chicago, Tristan und Isolde in Die lustigen Weiber von Windsor in Weimar. in Don Giovanni, Abigail Williams in Robert Prague National Theatre, Royal Danish Opera, by for his superb “tone, technique, is also a frequent collaborator with arts Washington, Houston, Dallas, and Los Angeles. Ms. Hangley has been seen at the Janiec Opera Opera News Ward’s The Crucible, and L’Écureuil in Ravel’s the Ópera de Bellas Artes in Mexico, the Lyric, expressivity, [and] diction.” This season saw an organizations around North America. Upcoming Company, singing Micaëla in La tragédie de L’enfant et les sortilèges. In 2014, Ms. Razskazoff During the 2016–2017 season, Ms. Graves returns and in Seattle; and Amfortas in with the appearance as Beadle in with Mill engagements include designing a new production Parsifal Carmen and Steampunk in the world premiere Sweeney Todd was awarded second place for the Mid-Atlantic to Washington as Emelda Griffith in , Met. This season, Mr. Grimsley will also reprise City Summer Opera, and he further sings Nick for odc Dance in spring 2017; directing a world Champion of Michael Ching’s Speed Dating Tonight!. Ms. Region of the Metropolitan Opera National premieres of by Laura Kaminsky, appears in Eugene Onegin as Filipyevna with Wotan in Die Walküre and Siegfried in Tokyo, Hangley received her Master of Music in vocal in La fanciulla del West with Michigan Opera Council Auditions, has won third place in the Today It Rains Florida Grand Opera, and takes part in the world and Don Pizarro in Fidelio and Jokanaan in Theatre and several roles inThe Grapes of Wrath Mark Campbell, and Kimberly Reed for spring MINNESOTA OPERA MINNESOTA DAS RHEINGOLD DAS

performance from . Houston Grand Opera's Eleanor McCollum

| 2019; and another world premiere by Lembit | premiere of Daniel Sonenberg’s The Summer Salome at the Met. Future roles include those in with Opera Theatre of Saint Louis. He will also Competition, and received the Juilliard Novick MINNESOTA OPERA RESIDENT ARTIST Beecher and Hannah Moscovitch. 16 King with Pittsburgh Opera. She was last seen at Houston, San Francisco, and Barcelona. take part in Lyric Opera of Chicago’s production Career Advancement Grant. 17 Minnesota Opera as Mrs. Miller in Doubt. of Die Zauberflöte. • BIOS CONTINUE ON NEXT PAGE MINNESOTA OPERA RESIDENT ARTIST 18 | MINNESOTA OPERA mnopera.org MINNESOTA ORCHESTRA OPERA Anne Strasser Miriam Moxness Griffiths Alastair Brown David Block Niles Huldah Elise Parker Melinda Marshall Stephan Orsak Elizabeth Decker Conor O’Brien Holly Ager Emilia Mettenbrink Julia Bartsch Colin McGuire Lebovic Carol Troy Gardner Brian Krinke Heidi Amundson Angela WatermanHanson David Mickens Julia Persitz Allison Ostrander for Opera Under The Stars. atShe was last seen Minnesota Mimì Opera as and Beethoven’s Symphony No. 9 in Jacksonville. Micäelaas in Carmen, Mimì in South Dakota, bohème La , adebut in withMimì Arizona Opera 2015 Santa in rondine Magda Barbara La as . The Jacksonville Symphony, anddebuts with Opera the Mothersings in Hansel andGretel for the ofthe by Craigof Riders Purple Sage Bohmler, in the 2016 works, Ms. Wolverton returns to Arizona Opera Continuing her passionate involvement in new ofemotional aria full turbulence.”a second-act during Mass, through the andsliced top notes of shone in asublime Act i‘Dona Nobis Pacem’ Wolverton, soprano whose diamond-edged “… wqxrwhich acclaimed soprano Karin of Silent Night with the Minnesota Opera for 011 of Anna Sørensen in the 2 and winning musicality.” on the Shetook role FORMER MINNESOTA OPERA RESIDENT ARTIST VIOLIN I VIOLIN II THE ARTISTS Asst. Concertmaster Concertmaster – 2016 season saw season areturn to Tulsa Opera as –

2017

season for the season world premiere warm tone, easy agility warm agility tone, easy to watch” having “a lovely News “a as young soprano by described Operahas been Soprano Karin Wolverton freia Karin Wolverton world premiere Ian Berg Jason C.Hagelie Charles Block Constance Martin MichaelJohn Smith Jane Cords-O’Hara Charles Asch Benjamin Osterhouse Diane Tremaine Dale Newton Rebecca Arons Teresa Richardson Jim Jacobson Matthew Mindeman Justin Knoepfel Matthew Williams Valerie Little Coca Bochonko James Bartsch Laurel Browne Susan Janda Emily Hagen BASS CELLO VIOLA soprano Miah Persson Greg Beckwith * William Eisenberg * Logan Arndt * Ronald L.Beitel * Michael Alexander Rebecca Jyrkas Charles Hodgson Matthew Bertrand Laurie Hatcher Merz Coreen Nordling Nina Olsen Jennifer Gerth Karrin Meffert-Nelson Jeffrey Marshak Robert McMannis Michael Dayton Amy Morris Bethany Gonella Michele Frisch OBOE FLUTE HORN BASSOON CLARINET double bass clarinet double English horn double piccolo

* double Phala Tracy Min Kim Hill Paul Matthew Barber Kory Andry Itai Agmon David Stevens Richard Gaynor Phillip Ostrander John Tranter Jonathan Brandt Christopher Volpe John G.Koopmann HARP PERCUSSION TIMPANI TUBA TROMBONE BASS TRUMPET TRUMPET following concerts: save 10%onthe to RHEINGOLD Use promo code Apr 27&28,2017 Alexandre Tharaud,piano Mar 29&30,2017 Malcolm Martineau,piano Florian Boesch,baritone Miah Persson,soprano Jan 8,2017 Gil Shaham,violin Nov 29&Dec1,2016 Joyce Yang,piano Augustin Hadelich,violin schubert.org I nternatIonal * member of Project Opera Fletcher Zavadil* Zel Weilandgruber* Ellie Tiede Max Steiner Kadie* Steiner Aniya Spears Morgan Peterson India Pelster-Wiebe * Alice O'Brien * Lexie Modica Jessica Lysne Carrie Liu* Cassie Klinga * Merideth Jolstad * Hayes Maggie Peter Finneran-Flyckt * Otto Dregni * Elif Dregni * Lainey Donoghue Nora Donnelly * Gemma Cooper Maddie Anderson * Gabriel al-Bochi SUPERNUMERARIES a rtIst s erIes more singer, anchored without adoubt. on this material has made meabetter and of the entire orchestral fabric. Working Wagner isthe ideaofthe voice being part What I've found unique about singing to beunique about singing Wagner? Wagnerian role. What have you found This is your first timeperforming a thinking. forward and very They'reproduces. innovative, imaginative, brave productions that Minnesota Opera career. here I love the andlove people the important housebeen This very to has my I'm thrilled in back Minnesota. to be with Minnesota Opera? What have you enjoyed aboutworking Areof Doubt. you excited to beback? you appeared intheworld premiere Minnesota Opera since 2013 when This is your first time back at Denyce Graves' biography appear onpage 16.

memorable performing experiences! Itthe opera. was definitely one of my more IbrokeOpera, my in the foot last actof During a performance at San Francisco happened to you during aperformance? surprising thing that has ever What is thestrangest ormost mountain the ofValhalla. height It’s daunting! musical pantheon, islike endeavoring toward a portrayed by the greatest artists ofour a role like sung has which been Erda, and anythingperforming of else.Thechallenge to compare the premiere performance with had also theI’ve great fortune ofnothaving the standardbecome for that role. particular on these roles andto have my interpretation to putopportunity my personal signature It’s to anda privilege have agift been such the I have created many roles in new my career. to you?new a role, such as Erda, that is completely a role that is newto theworld versus premieres. What is itlike performing You’ve performed inseveral world ◂ ▴

Denyce GravesmakesherroledebutinthetitularofMinnesotaOpera's1991productionCarmen Photo credit:DevonCass DENYCE DENYCE GRAVES I never, ever tire ofsingingChristmas carols. of singing? What music do you never get tired voice lessons. to have sessions to coaching my andto go stillbe andcenter myself. continue Ialso ofmy areas andto makein life, all time to day howlearning to demand every balance out alone time. Iam metoforced carve andoverextendingscheduling myself have travel andchanging time Over zones. for me difficult after yearsof constant has always Sleep health. beengreat vocal are vital for staying in great health andin Getting andstaying sleep enough hydrated health while travelling? work. How do you maintain vocal singer, you travel quite abit for your As aninternationally acclaimed Wise andformidable. Describe your character intwo words. MEETARTIST THE .

19 | DAS RHEINGOLD UPCOMING EVENTS OPERA EDUCATION

Project Opera at Orchestra Hall Opera Insights Tempo Happy Hour + DEC. 10, 7pm JAN. 21–29 Behind the Curtain Ring in the holiday season by joining Minnesota Come early and enjoy free, fun, and informative MAR. 1, 5pm Opera’s Project Opera in the Orchestra Hall half-hour sessions, hosted by Minnesota Opera's Tempo members and friends will gather at lobby as a wonderful prelude to the Minnesota artistic staff in the Ordway’s mezzanine lobby one Parlour in the North Loop for happy hour before Orchestra’s concert of Handel’s Messiah. hour prior to each performance. Join us for Opera heading to Behind the Curtain for Dinner at Insights and get an overview of the characters and Eight. All are welcome. music, historical and cultural context for the opera, ­Behind the Curtain: Diana’s Garden and highlights to watch for during the show. JAN. 11, 7pm MNOPERA.ORG/OPERA-INSIGHTS Behind the Curtain: Dinner at Eight At the historic Minnesota Opera Center, get MAR. 1, 7pm the inside scoop on Diana’s Garden as opera At the historic Minnesota Opera Center, get 1 2 3 experts and members of the cast and creative Diana’s Garden Live Broadcast the inside scoop on Dinner at Eight as opera team lead discussions exploring the music, JAN. 26, 7:30pm experts and members of the cast and creative “Music creates happiness and hope in a community” says Joseph Abreu, founder of El Sistema, a music history, and design of opera. Minnesota Public Radio broadcasts Minnesota team lead discussions exploring the music, MNOPERA.ORG/BTC Opera’s production of Vicente Martín y Soler’s history, and design of the opera. education and social development program that originates from Venezuela. It is from this inspiration Diana’s Garden, which features Leah Partridge, MNOPERA.ORG/BTC that Minnesota Opera started Music Out Loud, the first opera-based El Sistema-inspired program of Adriana Zabala, Craig Cloclough, Alek Shrader, its kind in the . The initiative builds community by engaging middle school students in The Magic Flute Broadcast and David Walton. Michael Christie conducts. music, theater, acting, and stage production. About to start its third year, Music Out Loud currently JAN. 18, 8pm MNOPERA.ORG/LISTEN Taste of Opera: Dinner at Eight operates at two sites in Minneapolis, Folwell Elementary and Venture Academy Charter School, Minnesota Public Radio broadcasts Minnesota MAR. 18 working with children after school Mondays–Thursdays. Opera’s 2015 production of Wolfgang Amadeus Enhance your opera-going experience with Photo 1: Julia Gallagher, Assistant to the Production Director, explains the process in which sets are designed and built for the main stage. Mozart’s The Magic Flute, which features Project Opera performs Imant a delicious pre-show dinner at the Saint Paul Photo 2: Venture Academy students attended the final dress rehearsal of Tosca last season. Photo 3: Teaching Artist Sara Sawyer rehearses Julien Behr, Christie Conover, and Andrew Raminsh’s The Nightingale Hotel and casual conversation with the experts students in choreography for music of Carmen. Wilkowske. Michael Christie conducts. FEB. 10–11 of Dinner at Eight. Leave the logistics to us and MNOPERA.ORG/LISTEN The Nightingale, based on the famous enjoy an all-inclusive night out at the opera. For Hans Christian Andersen fairytale, is the more information, call Brian at 612-342-9563. story of a Chinese Emperor who prefers the MNOPERA.ORG/TASTE Social Media Preview Night tinkling of a bejeweled mechanical bird to JAN. 19, 6:30pm the song of a real nightingale. Sung in English Minnesota Opera hosts a pre-screened group with English captions projected above the Resident Artist Cabaret at of press members, bloggers, and social media stage. Presented at the Lab Theater, 700 North the Metropolitan Ballroom influencers to attend the Diana’s Garden final First Street, Minneapolis (next to the APR. 8 5 dress rehearsal at the Ordway. We encourage live Minnesota Opera Center). Join the fun! Step back in time with the tweeting, blogging, note-taking, and illustrating. MNOPERA.ORG/THE-NIGHTINGALE Resident Artists to the 1940s and experience the MNOPERA.ORG/PREVIEW entertainment that supported our troops. The event supports the Resident Artist Program and Dinner at Eight at the Trylon will be an evening to remember. FEB. 10–12 Diana’s Garden MNOPERA.ORG/CABARET 4 6 JAN. 21–29 Join us at the Trylon Theater for a screening Diana, the goddess of chastity, is the target of of the motion picture, Dinner at Eight, Cupid’s interference as he brings unwelcome starring Marie Dressler and John Barrymore, OPERA AROUND THE STATE and based on the original Broadway play by love to her sacred garden. This opera is a Building on the success from last fall’s The Magic Flute tour to Duluth, Teaching Artist Alisa Magallón returned to northern Minnesota to sparkling comedy filled with witty social George S. Kaufman and Edna Ferber. spend two weeks to reach new audiences and reconnect with longtime opera fans. Alisa led a series of talks, performances, masterclasses, and commentary on freedom and power. Trylon Microcinema – 3258 Minnehaha Avenue MNOPERA.ORG/DIANAS-GARDEN TRYLON.ORG discussions at 20 libraries and four schools, ranging from International Falls, Duluth, Ely, Virginia, Hibbing, and beyond. More than 1,450 people participated ranging in age from 3 to 85, and from opera novice to seasoned opera veteran. Photo 4: Alisa leads a master class at Virginia High School. Photos 5 and 6: Story time at the Babbit library. SOCIAL MEDIA PREVIEW NIGHT Do you tweet? Post on Facebook? Instagram your entire life? Join us on THURSDAY, JANUARY 19, 6:30 pm for VOICES OF OPERA DIANA'S GARDEN SOCIAL MEDIA PREVIEW NIGHT Voices of Opera Get a behind-the-scenes look at the final dress rehearsal for Diana's Garden. In August, Minnesota Opera received funding from Aroha Philanthropies to launch , a new Artful Aging initiative. Inside the theater, using your phone, taking photos, and sketching is encouraged! The program offers singers 55+ the opportunity to perform operatic choral repertoire. The program will coordinate multiple rehearsals in DAS RHEINGOLD DAS Event is free, but please apply at mnopera.org/preview. multiple locations, and each location will have a final culminating performance for the public. Partners include the Sheldon Theater in Red |

SHOW US YOUR MN OPERA STYLE Wing and Artistry in Bloomington. Additional information and other details will be announced soon! 21 #DIANASGARDEN @MNOPERA F L X : I I 22 | MINNESOTA OPERA mnopera.org T kinds ofpieces. Garden (L’arbore di) isone ofthose Diana to the entirepieces operatic industry. Diana’s patrons. In many we presenting cases are also andinterestingnew operas to present to our of our greatest strengths andjoysisto find this leadstowe repertoire feel One fatigue. over andover. Here at Minnesota Opera companies rely on the same10 Imant Raminsh, music James Tucker,libretto FEBRUARY 10 THE LAB LAB THE THEATER 700 NORTH FIRST STREET MINNEAPOLIS, MN 55401 days in the 21 four hundred but yearsold these he opera form art is more than st century, most opera Heidi Spesard-Noble, stage director Matt Abernathy, music director

to 15 to – 11, 2017 operas operas DIANA'S GARDEN Vicente Martín popular was avery ySoler is Mozart at that time. His most famous opera collaboratingwas also with who Ponte, da Lorenzo collaborationlibrettist with fruitful light touch to this comedy. rediscovered light bring andwill humor his years ago, and triumphantafter his Così fan tutte afew Rothstein returns to Minnesota Opera Peterand beautiful style. classical thrillwill youwith their coloratura elegant Shrader. fast-rising These two Americans Opera debut. Also debuting istenor Alek Partridge,Leah making her Minnesota sure sung be will brilliantly by our soprano music andplayful Iam which ofwitty full outhas since fallen ofthe repertoire. It is during popular opera was very its day but duringfrolic January in Minnesota. The Spanish composer during the late 18 a delightful score, perfect for score, alight perfect a delightful Una cosa rara He to moved Vienna in century. He was oftencompared very and often preferred the opera buffa form. favorably to Mozart during that time In the hear, youwill ofDiana case with introducing waltzes to Vienna scene in scene Act Two ofDon Giovanni. in in quoted byquoted Mozart in the banquet frommelody that sameopera is 1786 , which is often credited isoften, which credited . Of an interesting note, a a . Ofaninteresting note, 1785 PREVIEW and began a a andbegan th

The Nightingale,The basedonHans TICKETS: Christian Andersen’sChristian celebrates fairytale, Friday, 10at6pmand8pm February Sung in English with English captions inEnglishwithcaptions Sung PERFORMANCES: Saturday, 11at1pmand3pm February the natural over the artificial and the andthe over theartificial the natural projected thestage. above power ofsongover death. $5 Students $15 Adults by phone only) Artistic Director our patrons.” to present to interesting operas is to findnewand strengths andjoys One of ourgreatest “ favorites well. as the favorites some new all andhopefully Minnesota Opera continues to bring you singers in amanner that isquite effective. the voices ofthese talented younghighlights Christian The music Andersen fairytale. score thatmelodic on the Hans isbased present The Nightingale , abeautiful and We excited are for also Project Opera to DALE JOHNSON

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BUY TODAY! A rediscovered gem from Mozart’s era. SOLER / Thank you for attending and benefits! operas for savings Add two or more

Service charges andother restrictions may apply. • • • • Save up to 25% Flexible exchanges and friends Discounts for family And more... Jan. 21–29 your order call 612-333-6669 For more information or to upgrade friendship and the promise of love. story of Parisian artists,surviving ononly blend of musicand theater as we follow the Lose your heart to La Bohème’scaptivating La Bohème Kaufman andEdna Ferber. new work basedon the play by George S. musical comedy andopera in this winning Mark Campbell successfully wed American Composer William Bolcom andlibrettist intrigues andromantic entanglements. a dinner party for guestslinked by business socialite Millicent Jordan plans Manhattan Dinner atEight social commentary on freedom andpower. opera isasparklingcomedy filled with witty unwelcome love to her sacred garden. This target of Cupid’s interference ashebrings Diana, the goddessof chastity, is the Diana‘s Garden

May 6–21,2017

(M–F, 10am–5pm) (M–F,

Mar. 11–19, 2017 Jan. 21–29, 2017 612-333-6669 mnopera.org STAFF, BOARD, AND VOLUNTEERS

BOARD OF DIRECTORS MINNESOTA OPERA STAFF PRODUCTION OFFICERS ADMINISTRATION Production Director | Karen Quisenberry Production Stage Manager | Kerry Masek Chair | Margaret Wurtele President and General Director | Ryan Taylor Assistant Stage Managers | Jamie K. Fuller, President and General Director | Ryan Taylor Director of Board Relations | Theresa Murray Hannah Holthaus Vice Chair  | H. Bernt von Ohlen Finance Director | Jeff Couture Assistant to the Production Director | Secretary | Nadege Souvenir Human Resources Director | Jen Thill Julia Gallagher Treasurer | John C. Junek Facility Manager | Steve Mittelholtz Production Assistant | Lorely Dedrick Finance Associate | Dylan Howell DIRECTORS­­­­­ SCENERY Richard Allendorf Cynthia Y. Lee ARTISTIC Technical Director | Mike McQuiston Patricia Beithon Mike McNamara Artistic Director | Dale Johnson Properties Master | Jenn Maatman Karen Brooks Albin “Jim” Nelson Music Director | Michael Christie Lighting and Video Coordinator  | Jane M. Confer Kay Ness Artistic Administrator | Roxanne Stouffer Raymond W. Steveson Jr. Jay Debertin Jose Peris Sound Consultant | James Pfitzinger Sara Donaldson Elizabeth Redleaf Artist Relations and Planning Director | Sidney W. Emery Connie Remele Floyd Anderson Production Carpenter | JC Amel Maureen Harms Don Romanaggi Dramaturg | David Sander Scene Shop Foreman | Larry Kline Sharon Hawkins Christopher Romans Resident Artists | Jonathan Brandani, Master Carpenters | Nate Kulenkamp, Ruth S. Huss Mary H. Schrock William Lee Bryan, Christopher Colmenero, Eric Veldey Mary Ingebrand- Linda Roberts Singh Nadia Fayad, Thomas Glass, Jessica Hall, Animator | Tal Kamran Pohlad Nadege Souvenir Mary Evelyn Hangley, Gina Perregrino, Alexandra Razskazoff, Benjamin Sieverding, Matte Painter | Mikhail Greuli Philip Isaacson David Strauss J Jackson David Radamés Toro, David Walton, Virginia Stringer Lindsay Woodward James E. Johnson Ryan Taylor COSTUMES Master Coaches | Lara Bolton, Mary Jo Gothmann, John C. Junek H. Bernt von Ohlen Eric McEnaney, Jenya Trubnikava Costume Director | Corinna Bohren Christl Larson William White Assistant Costume Director | Beth Sanders Mary Lazarus Margaret Wurtele EDUCATION Tailor | Yancey Thrift Drapers | Chris Bur, Emily Rosenmeier EMERITI Community Education Director | Jamie Andrews First Hands | Helen Ammann, Kelsey Glasener, Karen Bachman Julia W. Dayton Teaching Artist | Alisa Magallón Rebecca Karstad John A. Blanchard III Mary W. Vaughan Project Opera Music Director | Matthew Abernathy Stitchers | Ann Habermann, Sara Huebschen, Burton Cohen Project Opera Accompanist | Kathy Kraulik Jadie Krussow Wardrobe Supervisor | Corinna Bohren HONORARY DIRECTORS DEVELOPMENT Hair/Makeup Supervisor | Priscilla Bruce Dominick Argento Dolly Fiterman Chief Development Officer | Carley Stuber Hair/Makeup Crew | Heath Bryant-Huppert, Corrie Dubay Philip Brunelle Liz Kochiras Director of Development, Operations and Community Giving | Dan Sassenberg SING IN THE LEGAL COUNSEL Director of Development, Leadership and Institutional Giving | Mallory Roberts Moss & Barnett Institutional Gifts Manager | Diana Konopka Events Manager | Anthony Diaz Development Associate | Nickolas Sanches MINNESOTA OPERA Development Operations Coordinator | VOLUNTEERS Jonathan Lundgren The following volunteers contribute NEW YEAR! TEMPO BOARD MEMBERS their time and talent to support key MARKETING/COMMUNICATIONS activities of the company. Get involved As we sing in the New Year, we look OFFICERS Chief Marketing Officer | Darby Lunceford with Bravo! Volunteer Corps at forward to an even more prosperous 2017, Marketing Director | Katherine L. Castille mnopera.org/volunteer, or email Chair | Rhonda Skoby Marketing and Communications Associate | [email protected] and could not be more grateful for your Audience Development Chair | Brian Halaas Kate Saumur for more information. great-hearted participation in our success. Programming Co-chair | Thomas Bakken Audience Engagement Manager | Kristin Matejcek Lynne Beck Suzan Lynnes Programming Co-chair | Kara Eliason Design Manager | Kristin Backman Gerald Benson Mary McDiarmid Staff Liaisons | Kristin Matejcek, Eric Broker Communications Manager | Eric Broker Debra Brooks Barbara Moore mnopera.org

Secretary | Aimee Tritt Web and Digital Associate | Rocky Jones Jerry Cassidy Douglas Myhra Please consider Minnesota Opera Judith Duncan Candyce Osterkamp Treasurer | Faris Rashid Audience Services Manager | Kevin Beckey Jane Fuller Pat Panshin when making your year-end charitable Associate Audience Services Manager | Social Media Specialist | Jana Sackmeister Joan Gacki Sydney Phillips Karl Annable contributions. You can make your gift Merle Hanson Kari Schutz MEMBERS Audience Services Coordinator | Brian Johnson-Weyl Robin Keck Janet Skidmore online at mnopera.org/year-end-gift Brad Benoit Laura Green Chaffee Phone Room / Performance Supervisor | Mary Lach Wendi Sott Liz Brenner Sarah Fowler Trevor Schaeffer Jerry Lillquist Stephanie Van or by calling us at 612-342-9550. mnopera.org Audience Services Representatives | Carol Corich, D’Elden MINNESOTA OPERA MINNESOTA Joyce Lillquist Kamruz Darabi Veronica Mason RHEINGOLD DAS

| Emily Engel Julia Wilcox Madeleine Hallberg, Evan Martinak, Melanie Locke Barbara Willis | 24 Mark Giga Charlotte Summers Photo: Romeo & Juliet, 2016 © Dan Norman. 25 Minnesota Opera is a proud member of The Arts Partnership with Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra, and The Schubert Club. ANNUAL FUND INDIVIDUAL GIVING INDIVIDUAL GIVING ANNUAL FUND

It is with deep appreciation that Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps Phylllis Price Fred and Gloria Sewell Dana and Stephen Strand Mrs. Joanne Von Blon bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides Mary and Robert Price Cherie and Robert Shreck Carley and Bill Stuber Frank and Frances Wilkinson Scott and Courtney Rile Kevin and Lynn Smith Vern Sutton John W. Windhorst Jr. the financial foundation which makes the Opera’s artistic excellence possible. Lois and John Rogers Matthew Spanjers and Lester Temple Carolyn, Sharon, and Clark Winslow Dr. Donald V. Romanaggi Sr. Annie Carvalho Jill and John Thompson bel canto circle William I. and Bianca M. Fine Ellie Crosby – The Longview Mr. and Mrs. Sampson Family Charitable Foundation Daniel J. Spiegel Family Foundation Bryn and Schelly Vaaler Platinum $50,000 and above Charitable Trust Foundation Beverly N. Grossman Julia W. Dayton Mary Ingebrand-Pohlad Sara and Jock Donaldson Sharon Hawkins Thomas and Joyce Bruckner Carole and Joseph Killpatrick Gale Sharpe Vicki and Chip Emery patron circle Mr. and Mrs. Philip Isaacson Harvey T. McLain Warren and Patricia Kelly Gold $750 – $999 Jean and Bruce Carlson Robert and Venetia Kudrle Morris and Judith Sherman Ruth and John Huss John and Kathleen Junek Kay Ness and Chris Wolohan Chris Larsen and Scott Peterson Anonymous Brenda Colwill James and Gail LaFave Madeline Simon Lucy Rosenberry Jones and Leni and David Moore Jr./Moore Paul and Mary Reyelts Robert L. Lee and Mary E. Schaffner Gerald and Phyllis Benson Page and Jay Cowles Scott and Karla Lalim Clifford C. and Virginia G. James E. Johnson Family Fund for the Arts of H. Bernt von Ohlen and Albin and Susan Nelson Barbara McBurney Marilyn Crilley and Mr. Bryan Lechner Sorensen Charitable Trust of C. Angus and Margaret Wurtele The Minneapolis Foundation W. Thomas Nichol Don and Patricia Romanaggi Lucia Newell and Steven Wiese George Rowbottom Tim and Susanna Lodge The Saint Paul Foundation Wayne Zink and Elizabeth Redleaf Jennifer and Chris Romans Liane A. Rosel Barry Divine Ruth W. Lyons Jon Spoerri and Debra Christgau Christopher Schout Silver $10,000–$14,999 Mary Vaughan Mahlon and Karen Schneider David E. Sander Ellen Doll and Jay Swanson Frank Mayers Michael Steffes William White Anonymous Jesse and Linda Singh Platinum $20,000 – $49,999 Rhonda Skoby David Dudycha and Dorothy Vawter Laura McCarten Allen Steinkopf Susan Boren and Steve King Charles A. Weyerhaeuser Patricia Beithon Gold $15,000–$19,999 Rachelle Dockman Chase Warren Stortroen Holli and Stefan Egerstrom Thomas and Stefanie Murtha Mary K. and Gary Stern Memorial Foundation April Foley Ilya Perepelitsyn and Thomas and Sharon Stoffel Mary and Gus Blanchard An Anonymous Fund of Jane M. and Ogden W. Confer Silver $500 – $749 Virginia L. and Edward C. Stringer Bradley Fuller and Elizabeth Lincoln Lioudmila Sitnikova Kent Stone The Minneapolis Foundation Dolly J. Fiterman Bridget Manahan and Joe Alexander David and Terry Gilberstadt Carol Peterson Craig and Janet Swan Thomas O. Allen Marsha and Richard Gould Corine and John Petraborg Michael Symeonides and The Art and Martha Kaemmer Fund Nicky B. Carpenter Jean McGough Holten Katherine Anderson camerata circle Mary and Brian Green Walter Pickhardt and Mary Pierce Platinum $7,500 – $9,999 of HRK Foundation Darlene J. and Richard P. Carroll Dr. Arthur and Fran Horowitz August J. Aquila and Emily Haliziw Joseph and Deirdre Haj Sandra Resnick Dr. Anthony Thein Anonymous (3) Robert and Sandy Klas Family Fund of The Minneapolis Hella Mears Hueg Dr. Thomas Arlander Rehael Fund – Roger Hale/Nor Hall Christina and Dwight Porter Irma Thies Allegro Fund of the Robert Kriel and Linda Krach Foundation Jill Irvine Crow Dr. and Mrs. Orn Arnar of The Minneapolis Foundation Lorraine Potuzak Susan Travis Saint Paul Foundation Ilo and Margaret Leppik Rusty and Burt Cohen Diane and Paul Jacobson Jo and Gordon Bailey Family Tom and Susan Handley Dennis M. Ready Cindy and Steven Vilks Richard Allendorf From the Family of Richard C. and Gisela Corbett Hubert Joly Fund of the Catholic Russell and Priscilla Hankins Lawrence M. Redmond Elizabeth Wexler Barry and Wendy Brunsman Elizabeth B. Longfellow Jay and Rebecca Debertin Robert and Susan Josselson Community Foundation John Hogie Bob and Donna Rose Deborah Wheeler Maureen and Mike Harms Diana Lee Lucker Thomas and Mary Lou Detwiler Lyndel and Blaine King Ravi Balwada Mary and Jeffrey Husband Enrique and Clara Rotstein Barbara White Patricia Johnson and Karla Miller Mary Dolan Restricted Family Fund David MacMillan and Judy Krow Christopher Beaudet Barbara Jenkins Fred Sandal John M. Williams Kai Bjerkness Dr. and Mrs. Alfred Moore of The Longview Foundation Dorothy and Roy Mayeske Chuck and Estelle Bennett Erika and Herb Kahler Dan Sassenberg Miriam and Erwin Kelen Jenny L. Nilsson and Joan Duddingston Mary Bigelow McMillan Laura Bishop Jane and Jim Kaufman Fund of Mary Savina Cynthia and Lawrence Lee Garrison Keillor Dr. Mary Anne Ebert and Velia R. Melrose Martin and Patricia Blumenreich Jose Peris and Diana Gulden Sarah and Rolf Peters Paul Stembler Sandy and Bob Morris The Minneapolis Foundation Jon L. Schasker and Debbie Carlson Connie and Lew Remele Ken and Nina Rothchild Nancy and Rolf Engh Richard and Mary H. and Christian G. Schrock Dorothy Sinha Rosanne and Ken Everson Nancy Nicholson Fund associate circle Alfred E. Hauwiller Harry McNeely Kate Saumur $250 – $499 Nadege J. Souvenir and Ann Fankhanel Mrs. William S. Phillips Rosmarie and John Helling Laurel and David Mech Paul L. Schroeder Gold $5,000 – $7,499 Anonymous (2) Joshua A. Dorothy Bruce and Melanie Flessner John and Sandra Roe Foundation Holly C. Hickman Adele Mehta Emily and Daniel Shapiro Martha and Bruce Atwater Fund Dan Avchen and David Johnson Charles Allen Ward Fund of Patricia R. Freeburg Thomas D. and Nancy J. Rohde Mary K. Hicks Curtis and Verne Melberg Dale and Marilyn Simmons of The Minneapolis Foundation James and Gail Bakkom The Saint Paul Foundation Friborg Family Charitable Fund of James and Andrea Rubenstein Andrew and Gary Whitford Holey John L. Michel and Juliana Simmons William Biermaier and Bender Vocal Studio The Minneapolis Foundation Frank and Lynda Sharbrough Stuart Holland H. Berit Midelfort Bonnie and Peter Sipkins David Hanson Kenneth J. Berglund Silver $2,500 – $4,999 Kathy and James Ganley Julie Steiner Brian and Karen Hopps Virginia Miller Mark and Kristi Specker Kenneth and Peggy Bonneville Mitch and Michele Blatt Anonymous Judith Garcia Galiana and Ruth Stricker Dayton Burton and Sandra Hoverson Brad Momsen and Rick Buchholz Dr. David M. Steinhaus Dr. Lee A. Borah Jr. Roger and Ronnie Brooks Nina and John Archabal Alberto Castillo Dr. Andrew J. Thomas Mark and Kathleen Humphrey David E. and Judy L. Myers Donna Stephenson Michael and Alexis Christie Dr. Hannelore Brucker Dan and Martha Goldberg Aronson Sandi and Mike Genau Dr. Norrie Thomas and Gina Gillson Thomas and Vicki Hurwitz Merritt C. Nequette and Carolina and Peter Davis and Pamela Webster Philip and Carolyn Brunelle Karen Bachman Dr. Richard Gregory Stephanie C. Van D’Elden Ray Jacobsen Nancy Hartung Frederico Stiegwardt Mary Dearing and Barry Lazarus Renee Campion and David Walsh Michael Birt Mrs. Myrtle Grette Dr. Craig S. and Stephanie Walvatne Deborah and Ronald Jans William and Sharon Nichols Barbara Stoll Alfred and Ingrid Lenz Harrison Alan E. and Ruth Carp Alexandra O. Bjorklund Mary Guignon Richards Nancy and Ted Weyerhaeuser Charlie Johnson Brandon and Melissa Novy Mark Stutrud Dorothy Horns and C. Cesnik Stephen and Margaret Blake Susanne Haas and Ross Formell Woessner Freeman Nancy Jones Patricia A. O’Gorman Katharine E. Thomas James Richardson Laura Green Chaffee and Margee and Will Bracken Michele Harris and Peter Tanghe Family Foundation Charles and Sally Jorgensen Dennis R. Olson Susan Truman Jay and Cynthia Ihlenfeld Matthew Chaffee Laurie Carlson and Linda and Jack Hoeschler Jim and Kathleen Karges Donna and Marvin Ortquist Belen Urquiola William Voedisch Kay Constantine The Mahley Family Foundation Julia and Brian Palmer Elaine B. Walker Shana Crosson and John Gisselquist Janice Kimes Marcia and Jon Pankake David Walsh and artist circle Steve Coleman Goodale Family Foundation Sy and Ginny Levy Family Fund of Kathleen and Douglas Drake Tara and Peter Klatt Kathleen and Donald Park Renee Campion $1,000 – $2,499 Barb and Jeff Couture Jennifer Gross and Jerry LeFevre The Minneapolis Foundation Virginia Dudley and William Myers Nathan Kulenkamp James A. Payne David L. Ward Anonymous Mike and Stacey Crosby Bruce and Jean Grussing Teresa and Kaiser Lim Candace and Dan Ellis Beatrice H. Langford Lana K. Pemberton Greg and Ellen Weyandt Eric S. Anderson and – The Longview Foundation Roger and Karen Hale Benjamin Y. H. and Helen C. Liu Leah and Ian Evison Gene and Phyllis Letendre Margaret and John Perry John and Sandra White Janalee R. Aurelia Helen and John Crosson Marion and Donald Hall William F. Long Charlie and Anne Ferrell Lisa and Jonathan Lewis John and Norma Pierson Jeff Wiemiller Laurie Anderson and Jon Hanson Fran Davis Ann Marie Hanrahan Leland T. Lynch and Terry Saario Mina Fisher and Fritz Nelson Carol and Jeff Ley Anne and John Polta Barb Wildes Floyd Anderson Cy and Paula DeCosse Fund of Stefan and Lonnie Helgeson Fund of The Minneapolis C.D.F. Foundation Stuart MacGibbon Nicole and Charles Prescott Wendy Wildung Jamie Andrews and The Minneapolis Foundation Don Helgeson and Sue Shepard Foundation Greta and Paul Garmers Dr. Joan E. Madden Ann Richter Jenna Wolf Jane Kolp-Andrews Charles M. Denny Jr. and Elfrieda Hintze Reid and Ann MacDonald Cecilie and Emanuel Gaziano Dusty Mairs Robert E. Rocknem Ruth Wood Rebecca D. Arons and Carol E. Denny Fund of Steve Horan Martha MacMillan Stanley and Luella Goldberg Aimee and Robert Mairs Patrick Riley and Natalie Roholt Jessica and Rob Zeaske Thomas J. Basting Jr. The Minneapolis Foundation Thomas Hunt and John Wheelihan Carolyn Mayo Charlotte L. Grantier Kristin and Jim Matejcek Tamara and Michael Root Mounira Hassan Orpha McDiarmid Family Fund Daniel Roth mnopera.org Annette Atkins and Tom Joyce Mrs. Susan DeNuccio Peter Hyman Helen and Charles McCrossan Ruth and Dale Bachman Joyce and Hugh Edmondson Bryce and Paula Johnson Kris and Bill McGrath Thomas and Ann Bagnoli Rondi Erickson and Sandy Lewis Janet N. Jones Deb and Jon McTaggart These lists are current as of October 14, 2016, and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign. Carl and Joan Behr Ester Fesler Margaret V. Kinney Eileen and Lester Meltzer If your name is not listed appropriately, please accept our apologies and contact Mallory Roberts, Director of Development, Leadership and Institutional Giving, Barbara S. Belk Gail Fiskewold Sally and Bill Kling David and LaVonne Middleton at [email protected] or 612-342-9566. Donald E. Benson Salvatore Silvestri Franco Mrs. James S. Kochiras Kay Phillips and Jill Mortensen Shari and David Boehnen Terence Fruth and Mary McEvoy Anna Kokayeff Betty Myers Mrs. Paul G. Boening Family Fund of The Minneapolis Kyle Kossol and Tom Becker Joan and Richard Newmark become a donor Ed and Mimi Bohrer Foundation Constance and Daniel Kunin Ruth and Ahmad Orandi Allan Bradley Bring innovative opera productions to life with your charitable gift, and join Minnesota MINNESOTA OPERA MINNESOTA Joan and William Gacki Christl and Andrew Larson Sally and Thomas Patterson RHEINGOLD DAS

| Drs. Eli and Jan Briones James and Teddy Gesell Laurence and Jean LeJeune Suzanne and William Payne Opera’s family of donors today. Visit mnopera.org/support to give online. Thank you! | 26 Joan and George Carlson Heidi and Howard Gilbert Marge and Dwight Peterson 27 INSTITUTIONAL GIVING LEGACY CIRCLE MINNESOTA OPERA INFO

MINNESOTA OPERA THANKS the following donors who, Minnesota Opera Ticket Office Minnesota Opera gratefully acknowledges its major institutional supporters: 620 North First Street, Minneapolis, MN 55401 through their foresight and generosity, have included the Opera in 612-333-6669 $100,000 + their wills or estate plans. We invite you to join other opera lovers by Regular Hours: Monday – Friday, 10am – 5pm. This activity is made possible by the leaving a legacy gift to Minnesota Opera. If you have already made Performances: Weekdays — phones open until voters of Minnesota through a Minnesota such a provision, we encourage you to notify us so that we may curtain. Weekends — phones open at 2pm for evening State Arts Board Operating Support grant, thanks to a legislative appropriation from the appropriately recognize your generosity. performances and at 10:30am for matinee performances. arts and cultural heritage fund. Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain. Anonymous (4) Margaret Kilroe Trust* Paul and Val Ackerman Lyndel and Blaine King mnopera.org Thomas O. Allen Gretchen Klein* Visit mnopera.org to watch behind-the-scenes videos, read synopses, browse digital programs, and more. Join our e-club Dr. and Mrs. Rolf Andreassen* Sally and William Kling $50,000 – $99,999 to receive special offers and opera news. Mary A. Andres Gisela Knoblauch*

Karen Bachman Liz and Jim Krezowski Ticket Policies

Randolph G. Baier* Robert Kriel and Tickets are not refundable. Subscribers may make Linda Krach Patricia and Mark Bauer exchanges for a different performance or opera up to Robert and Venetia Kudrle Mrs. Harvey O. Beek* one hour prior to curtain. Any ticket may be turned back Helen L. Kuehn* for a tax deductible donation up until curtain. Call the Barbara and Judson Bemis Sr.* Robert J. Lawser Jr. Minnesota Opera Ticket Office at 612-333-6669. $25,000 – $49,999 Dr. Lee Borah Jr. Jean Lemberg* Parking Allan Bradley Joyce and Jerry Lillquist Prepaid parking is available for opera patrons at the C.T. Bundy II Patricia Ruth Lund* Lawson Commons Ramp. Call 612-333-6669 or visit Margaret M. Carasik David Mayo mnopera.org to purchase passes. Joan and George Carlson Barbara and Thomas* McBurney Darlene J. and Mary McDiarmid Opera Insights Richard P. Carroll Come early for Opera Insights — free, fun, and Mildred McGonagle* Julia and Dan Cross informative half-hour sessions held in the lobby one Sheila McNally* hour before curtain. Julia and Mrs. Walter Meyers $10,000 – $24,999 Kenneth* Dayton John L. Michel and Charles M. Denny Accessibility H. Berit Midelfort For patrons with disabilities, wheelchair-accessible seats George and Susan Doty Susan Molder* are available. Audio description will be available for Rudolph Driscoll* Edith Mueller* select performances. Please call 612-333-6669 for details Anne P. Ducharme Kay Ness and indicate any special needs when ordering tickets. Ester and John* Fesler At Ordway, accessible restrooms and other facilities are Joan and Richard Newmark Dr. Paul Froeschl available, as well as Braille or large-print programs and Philip Oxman and Harvey Zuckman infrared listening systems. Katy Gaynor Scott J. Pakudaitis For information on making a corporate or foundation contribution to Minnesota Opera, please contact Mallory Roberts, Nettie Grabscheid* Director of Development, Leadership and Institutional Giving, at [email protected] or 612-342-9566. Lana K. Pemberton At the Ordway Robert and Ellen Green Sydney M. and William S.* Phillips Ordway is a smoke-free facility. Dr. Ieva M. Grundmanis* Richard G.* and minnesota opera corporations, foundations, and government Julia Hanna* Liane A. Rosel Latecomers will be seated at an appropriate break. sponsors Gold $5,000 – $9,999 Rothschild Capital Partners Thomson Reuters Ruth Hanold* Ken and Nina Rothchild Please have all cell phones and pagers turned to the The Aaron Copland Fund James Rubenstein, Moss & Barnett Wells Fargo Advisors Frederick J. Hey Jr.* Berneen Rudolph Season Sponsor for Music Inc. Schwegman, Lundberg silent mode. Norton M. Hintz Trust* Mary Savina Best Buy Children’s Foundation & Woessner p.a. Bronze $250 – $2,499 Boss Foundation Carlson Family Foundation Elfrieda Hintze Frank and Lynda Sharbrough Children under six are not permitted in the hall. Silver $2,500 – $4,999 Briggs & Morgan p.a. Enterprise Holdings Foundation Jean McGough Holten Drew Stewart Anonymous Tempo After Parties Dellwood Foundation Fredrikson & Byron Foundation Charles J. Hudgins* James and Susan Sullivan Cameras and recording equipment are strictly prohibited Hutter Family Foundation Sakura Ernst & Young Hammel, Green and in the theater. Please check these items with an usher. Margaret Rivers Fund Abrahamson Inc. Dale and Pat Johnson Gregory C. Swinehart Hardenbergh Foundation Maurices McVay Foundation Ruth Jones* Stephanie C. Van D’Elden Tempo Print Sponsor Harlan Boss Foundation for the Food and beverages are available for purchase prior Minnesota Power Onan Family Foundation Charles and Sally Jorgensen Mary W. Vaughan Press Sure Print Arts to the show. Water and other beverages are allowed in mnopera.org Morgan Family Foundation Sit Investment Foundation Robert and Bernt von Ohlen Anna M. Heilmaier the theater (hot beverages require lids), but food Official Make-Up Partner National Bank of Commerce Wells Fargo Insurance Services Susan Josselson Charitable Foundation Sandra and Dale Wick is strictly prohibited. r.c. Lilly Foundation Peravid Foundation Charlotte* and In-Kind Donations Richard Zgodava* Mayo Clinic The Elizabeth C. Markle Karlen Quinlan Foundation Jefferson Lines Daniel Richard Zillmann The phone number for emergencies is Student Dress Rehearsal RBC Wealth Management Mary H. Keithahn Tennant Foundation 651-224-4222. Please leave seat locations Warren and Patricia Kelly * In remembrance with the calling party.

For more information on making planned giving arrangements, please contact Lost and Found is located at the Stage Door. MINNESOTA OPERA MINNESOTA Carley Stuber, CFRE, Chief Development Officer, at [email protected] or RHEINGOLD DAS Call 651-282-3070 for assistance.

| production multimedia | 28 Publicity Photographer, Brent Dundore | Production Photographer, Dan Norman 29 Videographer, Flight Creative Media | Event Photographer, CJ Standish 612-342-9579. Your attorney or financial advisor can then help determine which Broadcast Recording Media Sponsor Media Sponsor methods are most appropriate for you. Join the fun! Step back in time with the Resident Artists to the 1940s and experience the entertainment that supported our troops. The event supports the Resident Artist Program and will be an evening to remember. For more information visit mnopera.org/cabaret Special pricing for Tempo members!

JOIN TEMPO, OUR YOUNG PROFESSIONALS GROUP! Are you 21–39 and interested in experiencing opera, meeting new people, and receiving invitations to After Parties and one-of-a-kind events? Join Minnesota Opera’s young professionals group and enjoy a steep discount on the hottest tickets in town.

To learn more about Tempo and to purchase your membership, visit mnopera.org or call the Minnesota Opera ticket office at 612-333-6999, M–F, 10am–5pm mnopera.org

Corrine Standish for Minnesota Opera Minnesota for Standish Corrine 2015 MINNESOTA OPERA MINNESOTA DAS RHEINGOLD DAS

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Celebrating 10 seasons of outstanding chamber music! Come hear these African-American History Month A Holiday amazing MPR Class Notes Artists Minnesota Dance Theatre Must-see! Feb. 4, 7pm @ James J. Hill House PRESENTS perform free concerts! Feb. 5, 3pm @ St. David’s Episcopal Church

American Music There’s no better holiday April 20, 7pm @ James J. Hill House gift than an evening at April 22, 3pm @ St. David’s Episcopal Church Chanhassen! Quintessential Quartets June 3, 3pm @ Baroque Room GIFT June 4, 3pm @ St. David’s Episcopal Church CARD December 16-23, 2016 To: Kay & Tom www.millcityquartet.com with the Nutcracker Orchestra From: Aunt Dee “...a marvel of balletic storytelling.” GIFT CARD -Mike Steele, Star Tribune To: Mom & Dad From: Karen

Good for everything from Concerts to Camps King of Kings to Camelot and more! Lutheran Woodbury, MN TICKETS: mndance.org 952.934.1524 State Theatre Box Office, Free Admission!! Ticketmaster.com or 800-982-2787 ChanhassenDT.com spcsmusic.org $59 Frame Sale ! SATURDAY NOV 19 10AM - 8PM SUNDAY NOV 20 11AM - 6PM BURNSVILLE LOCATION ONLY (BURNSVILLE MALL) Before After Are your glasses aging you Stop cheating yourself and get a real pair of glasses.? Lake Vermilion - Ely - Lake Superior - Giants Ridge ST. PAUL • UPTOWN • NEW BRIGHTON • BURNSVILLE 952-892-6666 spectacleshoppe.com Northeastern Minnesota www.JanischRealty.com Holiday Concerts

AN ORDWAY PRODUCTION

NEW YEAR’S CELEBRATION WITH OSMO VÄNSKÄ THE MIDTOWN MEN

Tickets and Complete Details at minnesotaorchestra.org

612.371.5656 / Orchestra Hall NEW YEAR’S CELEBRATION WITH DAWN UPSHAW

Based Upon the Paramount Pictures Film Written For the Screen by NORMAN KRASNA, NORMAN PANAMA and MELVIN FRANK Music and Lyrics by IRVING BERLIN | Book by DAVID IVES and PAUL BLAKE Directed and Choreographed by JAMES A. ROCCO | Musical Direction by JEFF RIZZO DECEMBER 8-31

SPONSORED BY

HANDEL’S MESSIAH JINGLE BELL DOC GEORGE WINSTON IN CONCERT

MUSICAL THEATER SERIES SPONSORED BY $12 tickets

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative ORDWAY.ORG appropriation from the arts and cultural heritage fund. PETER AND THE WOLF MERRY AND BRIGHT 651.224.4222 TTY651.282.3100

PHOTOS: Complete credits online. Ratatouille: Presentation licensed by Disney Concerts © All Rights Reserved. HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. Harry Potter Publishing Rights © JKR. (s16) Media Partner:

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