Michigan Opera Theatre Commemorative Program 1995-96 Inaugural Season at the Detroit Opera House

MICHIGAN OPERA THEATRE COMMEMORATIVE PROGRAM

1995-96 INAUGURAL SEASON AT THE DETROIT OPERA HOUSE

SEASON SroNsqRED BY II®General Motors®

Now you can, too.

With the Karmanos Cancer Institute VISA ® card you're helping to find a cure for breast cancer. Each time you use this card, a percentage of your purchase goes to the Karmanos Cancer Institute at no cost to you. Other features of this special card include: • Low introductory rate of 6.95% APR*. • No annual fee and 25-day grace period on purchases. • Choose between two low rates after your introductory rate expires on 8/1/96: a fixed 13.8% APR* or a low variable rate that's only 4 points above the prime rate. • Qualified applicants can get credit limits up to $20,000. Help support cancer research and prevention with this special card. Help yourself, too, because this card has features as special as what it supports.

"---'----I+A~ tl A k .% ----, ~, ,,-

IW{MANOS Choose between 2 designs. The design at left symbolizes cancer research. The card at 0000 0000 0000 right depicts the pink ribbon, ....._ ~1U the symbol of the fight against oaoo _\,95 IIISNl X oaoo _VIIS oeR1 X MARV JANE MORE MARV JANE MORE breast canceer. *A nnual percentage rate

ts• ...

Yes. Health Alliance Plan.

According to the National Research Corporation, HAP's HMO-- had the highest member satisfaction scores of any health plan

in Southeast Michigan. We're honored. And pleased.

Because when our members feel good, we feel good.

You feel the same way, just call (810) 552-6000,

8 a.m. - 5 p .m., Monday - Friday.

Health Alliance Plan

Janet Evans in the "Water. Seville STS w-ith the NORTHSTAR SYSTEM on the road. Pure Athleticism 300-HP, 32-Valve V8 0-60 mph: 7.1 Seconds

Studied Precision jan et Evan s, Four-Time Full-Range Tra ct ion Control Olympic Medalist

Bosch ABSS Anti-Lock Brakes SEVILLE STS For more information ca ll 1-800-333-4CAD or on the Int er net type CADILLAC CREATING A HIGHER STANDARD. http://www.cadillac.com.

WASHINGTON

January 17, 1996

Warm greetings to everyone celebrating the twenty-fifth anniversary_ of the Michigan Opera Theatre and the opening of the Detroit Opera House.

The performing arts have long been a vibrant part of our cultural life, thrilling and inspiring audiences across the country. They entertain and educate us, opening our minds and awakening our senses to the beauty and complexity of human experience. With their variety of perspectives, the performing arts bring communities together, enabling us to gain a deeper understanding of ourselves and our society.

The Detroit Opera House promises to add its own rich contributions to America's artistic heritage. Offering the best of opera , dance, and musical theatre, the Michigan Opera Theatre and the Detroit Opera House are strengthening the spirit of community in the city of Detroit, bringing diverse audiences together in a common appreciation of the arts. Both MOT and this wonderful new opera house will prove to be an enduring source of pride for the people of Michigan and for our entire nation.

As you celebrate-!his impressive milestone, I applaud you for your long-standing commitment to excellence, and I send best wishes for a bright new future of artistic accomplishment.

OFFICE OF THE GOVERNOR LANSING

JOHN ENGLER GOVERNOR

April 20, 1996

Dear Friends:

As Governor of the State of Michigan, it is my pleasure to congratulate the Michigan Opera Theatre on the long-awaited opening of the Detroit Opera House. This is certainly an event worth celebrating!

Since its inception in 1971, the Michigan Opera Theatre has become one of the nation's 10 largest opera companies. I applaud its efforts to make opera accessible to people throughout the state of Michigan and to revitalize Detroit's historical theatre district. This, the year of its 25th anniversary and the opening of the Detroit Opera House, promises to be the Michigan Opera Theater's most successful yet.

Again, I am pleased to congratulate the Michigan Opera Theatre on the opening of the Detroit Opera House. Please accept my best wishes for continued success.

-4.?1:(~7l0o~!~r ~7---{

Copyright 2010, -Michigan7 - Opera Theatre In the world of Infinity, JBL, and Harman The more time you spend driving, the more Kardon automotive sound, you'll travel on a new time you have to listen to great music, and the wavelength of fun and musical enjoyment. more you'll be pleased you chose a sound system Selecting an Infinity, JBL, or Harman Kardon that's as famous in recording studios and concert system for your new vehicle says volumes about halls, as it is with today's top performers. your passionate love of music. Like your apprecia Bring out the musician hiding deep inside of tion of the note by note intricacies of a blazing guitar you. Listen to an Infinity, JBL, and Harman Kardon solo, or the lush, melodic layers of a vocal harmony. audio system today, in the vehicles listed below. For information call1-800-474-AUDIO. (\<) Intlnit.)( harman/kardon CHRYSLER-PLYMOUTH. FORD AND SAAB. LAND ROVER. DODGE. JEEP AND EAGLE. LINCOLN-MERCURY JAGUAR MITSUBISHI _------__ THE COMPANIES OF HARMAN INTERNATIONAL

April 20, 1996

Michigan Opera Theatre Lothrop Landing 104 Lothrop Detroit, MI 48202

DEARM.O.T. ADMINISTRATION & STAFF:

On behalf of the City of Detroit and all its citizens, congratulations to the Michigan Opera Theatre as you celebrate the grand opening gala of the beautiful new Detroit Opera House. This wonderful addition to our City's cultural treasures is a most exciting part of Detroit's rejuvenation.

I would like to express gratitude to the many arts supporters of the metropolitan area whose generous contributions have made both this event and the new Opera House possible.

This new part of the second-largest working theatre district in the country assures that Detroit will stay in the forefront of urban areas in terms of our cultural offerings.

I'm looking forward--- to my first "official" visit to the Detroit Opera House in the very near future.

Sincerely,

Dennis W. Archer Mayor

DWAIAHAlkc

Beyond any question, Dame Kiri Te Kanawa's singing career has been triumphantly consistent over many years. She readily admits that if one thing has changed it's her attitude toward time. She has the sense that time seems to have speeded up year by year because her punishing schedule keeps her diary filled for up to five years in advance. And for almost two decades Dame Kiri has been accompanied by her dependable Rolex timepiece. Of her gold Lady Rolex, she says,

"It is very beautif-ul, very elegant, and Lady Datejust quite wonderful:' Greenstone :s is thrilled to participate in the grand opening event of the Detroit Opera House, the site Lady of our original store seventy-one years ago. Oyster Perpetual GREENSTONES C REATO RS OF FINE J EWELRY SINCE 1925

528 North Woodward· Binningham, MI - 4 Blocks North of Maple Rd. (8 10) 642·2650 Rolex, 'liI', Lady Datejust and LaCly Oyster Perpetual are trademarks.

It takes dedication and commitment to put on a

great performance. The same kind of effort we put into everything we do at Michigan National Bank. We

work hard every day to deliver the kind of full-service

financial performance you'll want to applaud. A. Michigan National Bank

----~~~.~de~~-----

If I had time to practice the piano, there is a beautiful piece by Schumann Liszt called "Dedication" which I would have liked to play in an effort to express the depth of my feelings of gratitude to all who made the Detroit Opera House a reality. We are often overwhelmed by the power of opera because music reaches far beyond words in touching special feelings within us which we can all share. Yet I am compelled on this occasion to struggle with my inadequacies in using words to at least give some expression of thanks to so many who have walked with me on this journey which began so many years ago. While I have been relentless in pursuing a quest, it has been the devotion and support provided along the way which has sustained me and made our achievements possible.

First and foremost has been Karen VanderKloot DiChiera, for 25 years my companion and forever my most faithful friend , critic and counselor. Her contribution to shaping the first decade of activities at the Music Hall and her impact on having MOT touch the lives of thousands of children and adults throughout the state is incalculable.

Since our humble beginnings I have had the good fortune of finding creative, capable and committed managerial staff, from Robert Heuer, our first Managing Director, and presently General Director of the Florida Grand Opera, to John Leberg, our present Managing Director of MOT, and Kimberly Johnson, the indefatigable Managing Director of the Opera House Project - they and their staffs have shouldered and solved what often appeared to be insurmountable hurdles in achieving our goals.

In our American society, the cultural institutions which we cherish have never been accepted as public responsibilities as in their European antecedents, but have depended on the willingness of community leaders to help nurture and support their development. Thus, the evolution of Michigan Opera Theatre found refuge under the dedicated leadership of Ruth and Lynn Townsend who brought together a group of founding members to provide financial support and loving care for a fragile and young enterprise. It was Lynn whose corrsi:derable influence as Chairman of the Board of the Chrysler Corporation opened the doors in the community to - pay attention to what he affectionately called "David's Project". He oversaw the transition from Overture to Opera as a touring program of scenes to the establishment of an opera company and the saving of Music Hall as its first home.

Bob and Nancy Dewar joined the Board in 1973, having been introduced by Bob and Tuttie VanderKloot who were a constant source of new friends for the opera:

Like Ruth and Lynn, Bob and Nancy truly loved opera. Bob even talked Nancy's parents into allowing him to take Nancy to Chicago unchaperoned to see the opera. When in 1980 Lynn felt that it was time to step down, there was no doubt in anyone's mind that Robert Dewar was the logical successor.

Copyright 2010, Michigan- 12 - Opera Theatre His love of opera, together with his stature in the community as Chairman of the Board of Kmart, and his community-wide esteem as a man of integrity and commitment made him the natural choice. How lucky we were that Bob was in the wings ready to take up the mantle and how lucky I have been - blessed by the continuity of his leadership and unswerving loyalty to the vision of an opera company with no parameters to its potential as a cultural force. For the past fifteen years Robert Dewar has provided the stability and affection for MOT which has allowed this institution to realize its potential. The dream of an opera house was encouraged by Bob and by a Board of Directors and Trustees who have always functioned as a loving family devoted to an art form and to the community. Tne strategic planning, the willingness to take risks, and ultimately the commitment to a project that many believed was impracti cal and foolish and impossible. All of us working to achieve this dream were given courage and strength of steadfastness by our community leader and volunteer par excellence Robert Dewar.

How can one ever begin to thank, let alone name, the many, many individuals who have over the years been a part of making Michigan Opera Theatre and the Opera House a reality. From special and support ive friends like Morry Cohen, who helped launch our ballet initiative, to corporate leaders like Phil Benton, who provided extraordinary leader ship in our capital campaign, to devoted directors and trustees who have served tirelessly and selflessly, to the thousands of volunteers, donors and subscribers - all have provided the foundation for our efforts.

And last but not least, those wonderful artists who over 25 seasons have given us so many unforgelJable moments of greatness, enriching our lives with the wonder of their art. My heartfelt thanks to Luciano Pavarotti and all of the incomparable gala artists who so generously returned to make the inauguration and celebration an unforgettable moment in time for all of us.

l~ David DiChiera General Director

Copyright 2010, Michigan Opera Theatre 1971-1972 JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT LA RONDINE THE PERFECT FOOL TIm HISTORY OF 1972-73 cosi FAN TUTTE TOSCA MiCHIGAN OPERA TlmATRE THE TELEPHONE THE MEDIUM An Overview of 25 Years I 1973-1974 by Timothy Paul Lentz RIGOLETTO MADAME BUTTERFLY THE MERRY WIDOW 1974-1975 LA TRAVIATA BORIS GODUNOV "MOT has become the focal point of a cultural renaissance in Detroit. " That quote from the nationally THE ELIXIR OF LOVE DIE FLEDERMAUS prominent New York Daily News remarkably appeared just a few short years after the establishment of 1975-1976 Michigan Opera Theatre (MOT). It was almost inconceivable to all but a handful of people in the 60s and PORGY AND BESS early 70s that Detroit could or would support, financially as well as emotionally, its own opera company. Yet LA BOHEME LUCIA DI LAMMERMOOR Michigan Opera Theatre quickly gained a reputation as one of the nation's fastest-growing and most THE BARBER OF SEVILLE innovative regional opera companies and, more recently, as one of the country's premier producers of opera 1976-1977 and musical theater. WASHINGTON SQUARE (WORLD PREMIERE) MADAME BUTTERFLY This spring as the company simultaneously celebrates two major milestones, its Silver Anniversary and the NAUGHTY MARIETTA THE MAGIC FLUTE opening of its permanent home here in the Detroit Opera House, there is cause to reflect upon and - 1977-1978 recognize the people committed to a goal and the events that have brought us to this exciting and REGINA tremendously fulfilling moment in the life of MOT. What was once a dream has indeed become a reality; an CARMEN ' THE STUDENT PRINCE internationally recognized opera company residing in a world class theater as its permanent home and base FAUST of activity. AMAHL AND THE NIGHT VISITORS 1978-1979 THE PEARL FISHERS In order to trace the very beginnings of MOT, a brief look back at the Detroit Grand Opera Association SHOWBOAT (DGOA) is in order. In 1943, the DGOA came forth with a proposal to bring the Philadelphia La Scala LA TRAVIATA I PAGLIACCI Opera Company to Detroit. After eight seasons the DGOA changed course and brought in the New York THE EMPEROR JONES City Opera. By the end of the 1957 season the DGOA, faced with declining attendance, decided that they MADAME BUTTERFLY had to go out and get the best, the prestigious Metropolitan Opera tour. Led by the legendary Frank 1979 THE MOST HAPPY FELLA Donovan with the support of Mrs. Anne McDonald Ford, the DGOA presented the first of many years of IL TROVATORE Met tours beginning in May 1959. LA BOHEME JOAN OF ARC As Chairman of the DGOA Volunteer Committee, Mrs. Ford built a strong organization which included an 1980 DIE FLEDERMAUS Education Committee, chaired by the late Jennie Jones. The Edueation Committee's purpose was to develop OF MICE AND MEN the interest of colleges and school systems and to find the mechanism to distribute lower priced tickets, DON GIOVANNI RIGOLETTO while generally-womoting the Met tour. As part of this effort, in 1961 Jones created Overture to Opera FIDELIO (WITH DSO) (OTO) to perform excerpts from the upcoming Met tour repertory throughout Metropolitan Detroit. THE PEARL FISHERS (MATRIX MIDLAND FESTIVAL) 1981-1982 TOSCA THE OVERTURE TO OPERA YEARS CARMEN ANOUSH (AMERICAN PREMIERE) In 1963, Dr. David DiChiera, a professor in the Music Department at Oakland University, was asked to take THE MIKADO charge of Overture to Opera. DiChiera had arrived as an assistant professor at Oakland in 1962, fresh out of PORGY AND BESS the University of California Los Angeles Music School. He caught the attention of Virginia Yntema, who 1982-1983 THE HAUNTED CASTLE was DGOA General Chairman, following Mrs. Ford and Lenore Romney in that post. It was Yntema who (AMERICAN PREMIERE) suggested DiChiera for director of Overture. He had been especially effective as a member of the panels LUCIA DI LAMMERMOOR TREEMONISHA (part of the Overture program) which discussed the operas after the performances of the excerpts. His THE MARRIAGE OF FIGARO expertise, combined with a winning personality and enthusiastic demeanor in these discussions had carved THE SOUND OF MUSIC him quite a reputation. He was named Producer-Director for the 1963 season, Overture to Opera Ill. In its 1983-1984 LA TRAVIATA nine seasons, Overture to Opera laid the groundwork, secured the financial support and gained the FAUST respectability which allowed for the founding of what was to become Michigan Opera Theatre. A LITTLE NIGHT MUSIC ANNA BOLENA Copyright 2010, -Michigan14 - Opera Theatre 1984-1985 THE MERRY WIDOW DiChiera had an impressive resume. He had previously taught THE MAGIC FLUTE SWEENY TODD at UCLA where he received his Bachelor of Arts degree with AIDA highest honors, a Master's degree in Composition and a 1985-1986 Doctorate in Musicology. He received a Fulbright Award in GIANNI SCHICCI I PAGLIACCI 1958 for further study in Italy. At the time he was MARTHA commissioned by the U.s. Information Service to compose a WEST SIDE STORY TURANDOT piano sonata for the Naples Festival of Contemporary Italian 1986-1987 and American Music, which was broadcast nationally and ORPHEUS IN THE UNDERWORLD highly praised by the Italian press. DiChiera was selected for MADAME BUTTERFLY MY FAIR LADY membership in the National Association for American TOSCA Composers and Conductors in 1959. He was given THE BARBER OF SEVILLE PORGY AND BESS international recognition in the field of musicology for his 1987-1988 research in 18th century opera when he was invited in 1961 to FALSTAFF New York to participate in the Eighth International Congress MAN OF LA MANCHA KISMET of Musicology. He certainly had the right credentials. IL TROVATORE DIE FLEDERMAUS DiChiera's first three seasons with OTO were, as planned, programs of scenes from the operas to be LA BOHEME LUCIANO PAVOROTTIIN CONCERT performed by the Met on its annual Detroit season. Typically DiChiera would introduce the opera to the 1988-1989 audience and fill them in on relevant opera and music history. It was very much like what Leonard THE BALLAD OF BABY DOE Bernstein was so good at, and popular for, when he addressed the audience in his famous Young People's FOLLIES THE PIRATES OF PENZANCE Concerts. 'DiChiera was very well received by the audiences and the OTO seasons became very popular. ORLANDO IN CONCERT NORMA THE MARRIAGE OF FIGARO DiChiera had come to Oakland University because it was new and he saw a wonderful opportunity to CARMEN create programs. During the middle 60s, besides directing Overture to Opera, he played a role in starting 1989-1990 the University's major cultural programs, the Meadow Brook Festival and Theatre, but it was the building LES MISERABLES (FISHER THEATRE) of an opera company that was to hold his primary interest. The DGOA had always thought of the HANSEL AND GRETEL SWANLAKE Overture program as its educational arm and a promotional vehicle for the Met tour. However DiChiera LA TRAVIATA ROMEO ET JULIETTE saw it as a chance to develop something local that belonged to the city. In a 1982 article in the Ann Arbor DON GIOVANNI News, he reflected: "Detroit was the fifth largest city in the nation and the only city without an opera 1990-1991 company. I couldn't accept that fact ; I knew the constituency for it was here." He was committed to the RIGOLETTO idea that the future of opera in America was the continued growth of regional opera. SHOWBOAT COPPELIA (CLEVELAND BALLET) ARIADNE AUF NAXOS In 1967, he expanded the original format of Overture to Opera. OTO had grown and for the first time THE MAGIC FLUTE included a complete work, the Michigan premiere of Cherubini's one act opera The Portuguese Inn. MADAME BUTTERFLY Collins George of the Detroit Free Press expressed the public's growing enthusiasm for the 1967 Overture 1991-1992 LUCIANO PAVAROTTIIN CONCERT program: "The verve, the spirit with which everything is presented, the way the company can capture CANDIDE and project a dramatic movement; in general, the high level of competence of the performances make THE MIKADO KING ROGER them worthwhile ...the real lesson of the Overttlro company is that there is a place in Detroit for an (MIDWEST AMERICAN PREMIERE) SAMSON AND DELILAH operatic stock company. ..thanks must be expressed to Dr. DiChiera for this awakening to awareness of LUCIA DI LAMMERMOOR opera of such a large segment of the population." 1992-1993 SIDE BY SIDE BY SONDHEIM OTO produced its first full length opera in 1970, Rossini's The Barber of Seville, starring Maria Ewing THE MUSIC MAN LA BOHEME making her professional debut, and directed by and featuring Italo Tajo, world renowned bass and star of AIDA the Met and La Scala. The season also included performances at the Detroit Institute of Arts with a full THE SLEEPING BEAUTY orchestra. Overture to Opera was becoming a full fledged opera company, 1993-1994 THE BARBER OF SEVILLE one in search of a home. THE MERRY WIDOW TURANDOT Under the community leadership of Lynn and Ruth Townsend, OV'erture's CINDERELLA FAUST founding members served as the company's first Board of Directors. Lynn 1994-1995 Townsend, then Chairman of Chrysler Corporation, remained as MADAME BUTTERFLY Chairman of the Board of Overture to Opera and MOT until 1980 when he THE DAUGHTER OF THE REGIMENT DON GIOVANNI passed the baton to Robert Dewar, Chairman of Kmart Corporation, who SWANLAKE remains Chairman to this day. TOSCA Copyright 2010, Michigan Opera Theatre THE MUSIC HALL YEARS In 1971, Overture to Opera ended its ten nomadic years with its first of fifteen seasons in the Music Hall- Joseph and the Amazing Technicolor Dreamcoat and Puccini's La Rondine. In 1972 Overture was accepted into OPERA America (the national service organization for opera companies) , and presented yet another eclectic mainstage season of works by Mozart, Menotti and Puccini, and continued its extensive education and outreach activities.

This was also the year of the creation of the Opera in Residence program in which Michigan communities were able to host the Overture Company in their town for a week of opera experience. The week would include classes, workshops and a full production featuring members of the community and MOT professionals. The outreach and education aspect of the organization , under the inspired and dedicated leadership of nationally recognized composer and educator Karen VanderKloot DiChiera, was to continue to be a key factor in the building and solidifying of an audience for this regional opera company. The Community Programs Department over the years has made an invaluable contribution to the character and the strength of the company, while garnering national recognition for its varied and unique programming [see sidebar J.

With the 1973-74 season, the company officially changed its name to Michigan Opera Theatre, in accordance with its mandate to serve the entire state, and to demonstrate its equal emphasis on producing works from the operatic repertory as well as classic American musical theater, an innovative concept for the time. All productions were performed in English opening up the world of opera to a whole new segment of the population.

There was indeed a larger cultural picture, however. Though the opera company had finally found a comfortable home in Music Hall, the building'S future was by no means secure. To save it from the wrecking ball, a group of citizens came together, bought the theater, and established the not-for-profit Music Hall Center for the Performing Arts, with DiChiera as executive director. He ran MOT from offices on one floor of the Music Hall and the Performing Arts Center from separate offices on a different floor. Wearing two hats for the first of many times agreed with DiChiera as well as both organizations; in May 1976, at MOT's world premiere of Pasatieri's Washington Square , the foremost entertainment journal Variety stated, "The flourishing of Michigan Opera Theatre and Music Hall Center for the Performing Arts are due to the efforts of a great many interested people but no one doubts that the prime mover in what is happening in Detroit is 39-year old David DiChiera. Because of DiChiera, Detroiters now have a spread of theater, music, dance, opera, pop and ethnic entertainment. Di(:hiera is doing what, three years ago, was thought impossible - he is bringing Detroiters back downtown at night, in droves, and he is garnering a portfolio of excellent reviews. "

DiChiera and MOT were at the center of ~at was , for the first time in many years, a growing interest and excitement in downtown activities. The revitalization that began in the Music Hall was the catalyst for what was to become one of the largest theater districts in the country, begun and now capped, with the completion of the Detroit Opera House, by the efforts of Michigan Opera Theatre.

The Music Hall years were filled with artistic successes, for which MOT quickly established a reputation as an innovative and exciting new company. MOT was thrust into the national limelight when it commissioned and produced the world premiere of Thomas Pasatieri's Washington Square , starring Catherine Malfitano. An article in Time magazine in 1976 stated, "Nothing testifies to the growing up of a regional American opera company quite like a world premiere. " The Christian Science Monitor dubbed MOT "Detroit's Showcase". Variety declared, "This premiere is a first for Michigan Opera Theatre and a milestone for Detroit and Michigan." And Opera News praised MOT as "a triumph of regional opera. " .

Other highlights of the company's mainstage Music Hall performances include: the professional operatic debut of Kathleen Battle; the revival, telecast and ensuing Broadway run of The Most Happy Fella; the directorial debut of actor Sal Mineo with The Medium, in which he also played Toby; the telecast of Copland's The Tender Land with the composer himself at the podium; American opera debut of Cleo Laine in The Merry Widow ; and Catherine Malfitano's first La Traviata. MOT was one of the first company's to present major premieres of nationalistic operas reflectingCopyright the 2010,makeup Michigan of the community Opera Theatre it serves: the Polish opera The Haunted Castle and the Armenian opera Anoush. Further national recognition came from mounting important revivals of such American works as Gershwin's Porgy and Bess, Blitzstein's Regina,Joplin's Treemonisha and Gruenberg's The Emperor Jones . In fact , fully 25% of the company's mainstage productions were devoted to opera and musical theater works by American composers.

In 1979 DiChiera was named "Michiganian of the Year" by the Detroit News and was elected President of OPERA America, a post he held for four years.

In January 1985, DiChiera had been named General Director of Opera Pacific in California's Orange County, which held its first performance season that year on the stage of one of the most impressive facilities in the country, the Orange County Performing Arts Center. Now, as General Director of the two companies and Artistic Director of Dayton Opera (a position he held from 1981-1991) , he could essentially collaborate with himself, sharing the combined artistic resources and leveraging the financial resources of all three institutions for considerable savings and higher quality productions. This unique tri-company framework that DiChiera headed is regarded as a positive and innovative formula for the future of opera production.

Also in 1985, the DGOA announced that after that May, it would no longer bring the Met to Detroit. The tour had fallen on hard times both artistically and financially. Equally important, the growth of regional companies in host cities like Detroit and Cleveland had made the tour redundant. Once the Metropolitan Opera Tours came to an end, MOT was ready to fill the void.

In 1983 after extensive strategic planning, and in anticipation of the imminent demise of the Metropolitan Opera tour, MOT announced its declsion to broaden the scope of the company by producing large scale grand opera at the Masonic Temple Theatre afong with the offerings at the Music Hall. The intention was that MOT would begin to take over the Met's role. In the spring of 1984 following the Met's spring tour, MOT produced its first grand opera in the Masonic Temple, Anna Bo/ena, featuring a cast of international, stars including Dame Joan Sutherland and thenI unknown Ben Heppner, conducted by Maestro Richard Bonynge, and featuring the Midwest premiere of English Surtitles. In the spring of 1985 and 1986, MOT returned to the Masonic for Aida starring Leona Mitchell in her first outing in the title role, followed by Bulgarian soprano Ghena Dimitrova in Puccini's Turandot . These productions marked the beginning of a new era for MOT.

THE FISHER/MASONIC YEARS MOT celebrated its 15th Anniversary Season in 1985 by moving to the Fisher Theatre for its fall presentations. The administrative offices also moved to the New Center Area . The decision to leave the Music Hall was a difficult one, but ultimately it was a natural evolution conSidering the momentous growth and impressive goals laid out for the company by DiChiera and the Board of Directors.

The vastly different stages of the Fisher Theatre (primarily a Broadway style house seating 2,100) and the 4,000 seat Masonic Temple, home to the Met tours for so many years (where MOT performed in the fall and spring, respectively) allowed the company to express its rich diversity and depth of character, resulting in a great many artistic and ultimately financial successes.

In 1985-86, MOT mounted the first American opera production of West Side Story , which enjoyed an extended run, In the 1986-87 season, MOT increased its mainstage offering to six productions, mounted its first full grand opera season at the Masonic Temple and earned its rank as one of the top ten opera companies in the U:S. based on operating budget.

During the 1987-88 season, with the budget topping $5 million and subscribers numbering over 9,000, MOT launched its biggest season ever, highlighted by the historic Detroit concert debut of Luciano Pavarotti at a sold outJoe Louis Arena. The 1988-89 season featured Douglas Moore's The Ballad of Baby Doe presented for the first time in 28 years in Detroit, and the Detroit premiere of Sondheim's Follies, starring Juliet Prowse, Edie Adams and Nancy Dussault. The season opened with MOT's 500th public performance and concluded as the sixth consecutiveCopyright "in the 2010, black Michigan", financially Opera sound Theatre season. In 1989-90, MOT commissioned a new production of Norma from English artistJohn Pascoe for Dame Joan Sutherland's final performances of the role. The production garnered the company its first NPR broadcast. That same season, MOT added classical ballet to its programming mix with a production of Swan Lake starring one of the world's greatest interpreters of the role , Cynthia Gregory. MOT audiences for mainstage and outreach programs combined exceeded 230,000.

In 1990-91, the 20 year old MOT mounted an acclaimed revival of Show Boat, produced its first-ever Richard Strauss opera, Ariddne auf Naxos , starring Alessandra Marc, and unveiled a new production designed and directed by John Pascoe of Don Giovanni , which was , like Norma, shared by Opera Pacific and Dayton Opera and made possible by Ford Motor Company. In 1991-92, MOT once again presented Luciano Pavarotti inJoe Louis Arena, and mounted Karol Szymanowski's rarely performed Polish opera King Roger.

Highlights of the past five seasons include soprano Ruth Ann Swenson's acclaimed debut in Romeo etJuliette followed by Lucia di Lammermoor, and a co-production with Opera Pacific and Portland Opera of Samson and Delilah designed by Beni Montresor. Tosca, starring Russian soprano Maria Guleghina in May 1995, brought the MasoniclFisher years to a dramatic close.

THE SEARCH FOR A NEW HOME While the move to the Fisher and Masonic achieved a temporary solution to the company's need for greater technical resources, seating capacity and audience amenities, the strategic planning process begun by DiChiera and the Board in the mid-1980s made it clear that the future of the opera company as a permanent resource for the city and state would necessitate a more lasting solution; the opera company had to find or create, and control, a world-class facility to accommodate all of its activities.

Inthe late 80s, the company seriously considered renovating the State Theatre next to the newly renovated Fox Theatre, though the arrangement was not considered ideal because the facility was not for sale, only rent. While in the midst of these discussions, the Grand Circus Theatre became available for purchase. DiChiera considered the magnificent structure ideal for its "opera house" style interior and the possibilities for building a new stagehouse. He brought in facilities experts to substantiate its structural soundness, acoustical excellence and technical capabilities when updated. The Board secured the first parcel in the Grand Circus Theatre block as the company's future performance site.

In 1990, Philip E. BentonJr., then President of Ford Motor Company, agreed to chair the Opera House Capital Campaign. Under his leadership MOT ran a successful campaign to name the private grand tier boxes, enabling the company to acquire the remaining parcels of the Grand CircusTheatre block by 1994. In the fall of 1991 during a press conference in the Opera House prior to his return concert engagement in Detroit, Luciano Pavarotti made the startling promise to return to open the Opera House, bringing the-building project to the attention of the public at large.

In 1992, Kim Johnson, former executive director of the Music Hall Center for the Performing Arts, was named Managing Director of the Detroit Opera House, to oversee the restoration and rennovation of the opera house project. In spring 1993, the wrecking ball came down on the Roberts Fur Building on the Grand Circus Theatre block, making way for the enormous task of building a new 75 ,000 square foot stage house. With the $1.25 million Kresge Challenge grant, the acquisition of the last of the eight parcels in the Grand Circus Theatre block and the 1994 Opera Ball inside the unrestored auditorium before a crowd of many who had never before seen the interior, the project gained incredible momentum. Construction began in earnest on the stage house that same summer.

The next chapter of MOT's illustrious history is yet to be written, but with the grand opening of the new Detroit Opera House on April 21 , the stage is set for an exciting new era for Michigan Opera Theatre. The impossible dream has become a joyous reality.

Timothy Paul Lentz is a Doctoral Candidate in Theatre at Wayne State UniverSity writing his dissertation on Michigan Opera Theatre. He is also vocal music director and theatreCopyright coordinator 2010,at Adams Michigan High School Opera in Roch Theatreester Hills, and long-time Treasurer of the Michigan School Vocal Music Association. STATE-WIDE EDUCATION AND OUTREACH Michigan Opera Theatre has garnered national recognition for its twenty-five years of presenting grand opera, operetta, chestnuts from the Broadway repertory and classical ballet. However, equally significant in regional and national acclaim is the company's extensive community outreach program as developed by its founder and director, Karen VanderKloot DiChiera. Adhering to the company's early philopshy, Michigan Opera Theatre's Community Programs Department provides year-round professiodal programs that are both entertaining and educational, presented in almost any type of setting, and geared towards all segments of the community population.

The Department does not restrict itself to exclusively children's opera or opera programming. Rather, their diverse and unique repertory ranges from one-act operas for young audiences and their families , and musical revues of Broadway or operetta for adults to musical satires on the ill-effects of smoking and substance abuse, and operas based on Michigan's Indian literature, as well as musical revues that compares the roots of early opera to African music and its relationship to the pop music of today. Additionally, the Community Programs Department offers a wide variety of educational and instructional workshops in improvisation, the art of singing, careers in the arts and programs for the developmentally and physically disabled.

Karen VanderKloot DiChiera embodies the philosophy and goal of her department, "to foster future creators, performers, consumers and supporters of the arts of any age. " A nationally recognized composer and educator, she has studied with masters in several arti~tic mediums: composition with the renowned Ross Lee Finney; dance with Martha Graham, Jose Limon and Harriet Berg; and visual art with Glen Michaels. She has been recognized for her outstanding contribution to the field of Educati~n with a Governors' Arts Award from Concerned Citizens for the Arts in Michigan, and received a special tribute from the Legislature of the State of Michigan. She served on the Touring Arts Granting Panel for the National Endowment for the Arts in Washington D.C., and has served on the Boards of such diverse organizations as Michigan Youth Arts Festival, Very , Special Arts, Michigan and Very Special Arts, South Eastern Michigan (which she also founded), Kresge Hearing Research Institute, Preservation Wayne, Macomb County Physical Therapy Association, Optometric Institute and Clinic of Detroit and National Opera for Youth Foundation.

Outstanding achievements and programming highlights of the Departments varied offerings over the past 25 years include: • Create-an-Opera programs with children from Ludington Middle School, Keweenaw Bay Indian Community, summer camps for Orchards Children's Services, Flint Institute of Music, among others. • Black Outreach Program established with the help of a grant from the National Endowment for the Arts. • Faust, 1983, is the first MOT main stage production to be interpreted in American Sign Language, funded by Opera America. • In 1984, United Nations recognizes MOT for programs for the disabled, including Tapes for the Blind. NEA provides grant to begin Careers in the Arts , a half hour interview program with professionals in the arts, aired weekly on WDTR radio for four years. • VanderKloot DiChiera establishes Southeastern Michigan chapter of Very Special Arts, for persons of all disabilities. • DiChiera composes Nanabush, the Great Lakes Indian Hero for tour honoring State sesquicentennial. • In 1992 a new Education and Outreach committee of the MOT Board of Directors is established, Marianne Endicott, Chairperson. ---- • Commissioned eight new one-act operas from such important American composers as Seymour Barab, James Hartway and Robert Xavier R'odriguez. • "Time Out for Opera" television series created for Bloomfield Community Television is finalist in the International Hometown Video Festival in Arts Programming.

This year, a partnership between MOT, the Detroit Public Library, Your Heritage House Museum and Center for Creative Studies has been accepted for funding by the Arts Education Funders Collaborative, a partnership among major foundations and corporate funders. The grant is for integrating Arts into the core curriculum of the Detroit Public Schools. The Department also performs beyond Michigan's borders into WisCGnsin, Indiana and West Virginia.

MOT salutes Karen VanderKloot DiChiera, the staff and artists of the Department of Community Programs for their successful efforts to spread the joy of opera and arts education throughout the entire State of Michigan.

You get Rockwell Automotive's on-time systems design know-how working for you. Today, Rockwell is continuing to spend over one billion dollars to enhance the capabilities of its worldwide automo tive and truck business to better serve the needs of customers up the street, around the corner and around the globe. So as your business goes global, act local. Call Rockwell. We're just up the street. '1' Rockwell Automotive

When you think of Rockwell, you 've thought of everything .

)Few general directors in the country can lay claim, as can Michigan Opera Theatre's David DiChiera, to founding an opera company and remaining at its helm for a quarter century. The claim is all the more impressive when one considers the heights to which the company has risen during this one person's tenure -- one of the nation's foremost operatic institutions.

As we share with you some of the many highlights in the extraordinary career of Detroit's own opera impresario, esteemed colleagues and artists whose contributions to the distinct character and renown of the company express their own heartfelt appreciation for and to the person who has lead MOT to its finest hour.

"(David) , you are a wonderful person and I enjoyed working with you. Loads of love." - Roberta Peters

"There would be no Detroit Opera House without David DiChiera ... Congratulations and gratitude to David, Michigan Opera Theatre, his entire staff, the City of Detroit and to all who cared and contributed to this noble cause. " - Ara Berberian

"Michigan Opera Theatre is fortunate indeed to have the skilled and loving hand of David DiChiera not only bringing opera at its best to music loving audiences, but also for providing a magnificent new home in which it can thrive. " - Giorgio Tozzi

"Congratulations on your 25th anniversary! It seems incredible that 20 years have passed since MOT premiered my opera Washington Square. Your beautiful production and Catherine Malfitano's brilliant portrayal remain etched in my memory forever. " - Thomas Pasatieri

"I heartily ~ongratulate you for 25 wonderful years of opera with Michigan Opera Theatre and the opening of the Detroit Opera House. I am so very proud to have been a part of this magnificent tradition." - Leona Mitchell

"It is with great joy that I join in celebration of this mome:ptous occasion in the life of Michigan Opera Theatre. For almost twenty years I have been honored to be one of the artists who have been understood, encouraged, and supported by this company and by its leader, David DiChiera - truly a man with a vision. I look forward to the future. - Ron Raines

"Congratulations on the 25th anniversary of Michigan Opera Theatre. I enjoyed singing Turandot with you. All best wishes for the future ." I - Ghena Dimitrova I "Congratulations to David DiChiera, Michigan Opera Theatre and the City of Detroit on the opening of the new Opera House. And thanks for doing so many of my shows." - Stephen Sondheim

"David, Detroit owes you a debt of gratitude. Unlike many impresarios in other locales, you have always provided a platform for worthy local talent to try its wings in company productions; for this I thank you .. jor bringing Detroit back to Broadway in a big way that, hopefully will spearhead the rejuvenation of the heart of this great metropolis, I offer you my profound thanks and congratulations. When David asked me to sing the role of Herod in Richard Strauss' Salome, my wife said, 'Well, you've finally made it to Broadway!'" - George Shirley

"(David), the renovation of the-Vetroit Opera House is a tribute to you and to those you have influenced and encouraged. Congratulations to you on a job well done and may you continue on your path to success. " - David Hanthorn General Director, Florentine Opera Company

"It is with deep admiration and friendship that I congratulate you on the 25th anniversary of your leadership of Michigan Opera Theatre ...May this building continue to be a monument and home to the arts that we so dearly cherish and that you have so brilliantly kept alive and flourishing for the past twenty-five years. " -John DeMain

'# -- "Congratulations to you, David, on your 25 years as General Director of Michigan Opera Theatre. It is fitting that your anniversary year should also be that in which the Detroit Opera House opens its doors - a project that meant so much to you and will remain an asset to the City of Detroit, as well as providing a home for the Opera Company." - Dame Joan Sutherland and Richard Bonynge

"How wonderful that you could celebrate twenty-five years as General Director of Michigan Opera Theatre with the grand opening of a new home for your company. What a monumental achievement! Please accept my best wishes for a smash opening." - David Gockley, General Director, Houston Grand Opera

"You have been a fantastiC champion for opera in North America, David, with the commitment, dedication and talent to make the differenc e. Generations of opera audiences will reap the rewards of your hard work, and that is something to cherish. It's hard to believe that you are the same man who was a student with me at UCLA." - Lotfi Mansouri, General Director, San Francisco Opera

Copyright 2010, Michigan Opera Theatre "Many heartfelt congratulations on your 25 years at Michigan Opera Theatre. I think it is particularly splendid YOLl are able to celebrate this event with the grand opening of your opera hous e, making Michigan Opera Theatre even more of a cornerstone to the cultural life of Detroit. " , - Peter Hemmings , General :q.irector, Los Angeles Music Center Opera

"(David) , my congratLllations to YOLl for this special anniversary ... I am especially thoLlghtful and thrilled that it was YOLl who gave me the opportLlnity to condLlct in the United States for the first time. YOLl presented me the key to open a new chapter in my musical life. " - Klaus Donath

"Dearest David, Congratulations on YOLlr SILVER JUBILEE I I I May we all salLlte a grand man of the operatic world. Besides taking care of the "situated" artists, YOLl have been a pioneer in cpnstant search of new talent - many of which have become renowned artists in th e world today. FLlrthermore, YOLl have also fOLlnd time to compose the most luscious songs -four of which Klaus Donath, my husband, and I have had the honor of performing .. .I am particularly thrilled to sing my first U.S. Puccini at the grand opening. We SALUrE you, dearest David, and send a speCial greeting to you proclaimed through YO Llr name:

Dynamic Devoted Director Attentive I rresistable Visionwy Charming Intelligent Handsom e Distinguished Innovative EnthLlsiastic Radiant All of the above -and morel"

. Imagine the setting ifyou will. Warm, fine wood interiors. Big comfortable chairs. The clinking of wine glasses. Aromatic smells of steak broiling. And finally, the taste ofa perfectly seared and seasoned steak. This is Carvers, 1. "Waiter, tell me a new restaurant the name ofthat vineyard again. " based on a tradi

2. tion that f authen A good sense ofsmell: tic and uniquely Absolutely essential at American. The Carvers. steakhouse. Classy, 3. See our steak. Your but never stuffy. ~ mouth will water. ~ A natural reaction. We're not about 4. trends. We're You 'llfeelthe ., c .' quality. All all about food: . . the way down ~. ' . to the napkins. steaks, prime rib 5. and seafood. for yourself, right here in Farmington 4 Ten thousand taste ~ buds. Each happy And now you can Hills. Please call for dinner or lunch reser to be at Carvers. experience Carvers vations to avoid any longer of a wait.

Relax and enjoy a hit of perfection. CARVERS Call 476-5333 for reservations. Farmington Hills at 10 Mile Rd. and Crand River Ave. Prime Rib. Choice Steaks. Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre Puccini, ShakesReare, Veroi, Strauss, Batten, . BartQn, Durstme, Osborn. [Here we go, dropping names again.]

Batten, Barton, Durstine and Osborn are the BBDO in BBDO. The people who work at the company they founded are proud to lend their name in support of the Michigan Opera Theatre. And spend some time enjoying the company of Puccini, Shakespeare, Verdi and Strauss. BBDO Detroit A Division of the BBDO Worldwide Network 26261 Evergreen Road • Suite 300 • Southfield, MI 48076

BOARD OF DIRECTORS Mr. &: Mrs. Robert A. Allesee Mrs. Katherine Gribbs Mr. &: Mrs. Irving Rose 1995-1996 Dr. Lourdes V Andaya Mr. &: Mrs. John C. Griffin Mr. &: Mrs. Louis Ross Mr. &: Mrs. Thomas Angott Mrs. Berj H. Haidostian Mr. &: Mrs. David Ruwart Mr. Robert E. Dewar, Chairman Mr. &: Mrs. Robert L. Anthony Mrs. Robert M. Hamady Mr. &: Mrs. William Sandy Dr. &: Mrs. Agustin Arbulu Mr. David Handleman Dr. &: Mrs. Norman Schakne Dr. David DiChiera, President Mr. &: Mrs. David Aronow Mr. &: Mrs. Preston Happel Mr. &: Mrs. Fred Schneidewind Mr. Cameron B. Duncan, Treasurer Mrs. Donald Atwood Dr. &: Mrs. Joseph Harris Mr. &: Mrs. Arthur Schultz Dr. &: Mrs. Donald Austin Mr. &: Mrs. Kenneth E. Hart Mr. &: Mrs. Alan E. Schwartz Mr. C. Thomas Toppin, Secretary The Honorable Mr. &: Mrs. Eugene Hartwig Mr. &: Mrs. Donald Schwendeman &: Mrs. Edward Avadenka Mr. &: Mrs. E. Jan Hartmann Mr. &: Mrs. Frank Shaler Mrs. Robert Allesee Mrs. James Merriam Barnes Mr. &: Mrs. David B. Hermelin Mr. &: Mrs. Roger F Sherman Mrs. David Aronow Mr. &: Mrs. J. Addison Bartush Mr. &: Mrs. Keith Honhart Mr. &: Mrs. Richard Sloan Mrs. Donald C. Austin Mr. &: Mrs. Mark Alan Baun The Honorable Mr. &: Mrs. S. Kinnie Smith,Jr. Mr. J. Addison Bartush Mr. &: Mrs. W Victor Benjamin &: Mrs. Joseph Impastato Ms. Phyllis D. Snow Mr. Philip E. Benton,1r. Mr. &: Mrs. Philip E. Benton, Jr. Mr. &: Mrs. Verne Istock Mr. Richard Sonenklar Mr. Richard A. Brodie Mr. &: Mrs. Douglas Borden Mrs. DavidJacknow Mr. &: Mrs. Richard Starkweather Mrs. William C. Brooks Mr. &: Mrs. Donald]. Bortz Mr. &: Mrs. LeonardJaques Ms. Mary Anne Stella Mrs. Frederick Clark Mr. &: Mrs. Richard A. Brodie Miss H. Barbara Johnston Mr. Frank D. Stella Mr. Jeff Connelly Mr. &: Mrs. William C. Brooks Mrs. William E. Johnston Mrs. Mark Stevens Mrs. Peter Cooper Mr. &: Mrs. Clarence G. Catallo Mr. &: Mrs. Maxwell Jospey Mr. &: Mrs. George Strumbos Julia Donovan Qarlow Mr. &: Mrs. Frederick Clark Mr. &: Mrs. Mitchell!. Kafarski Mr. &: Mrs. C. Thomas Toppin Mr. Lawrence N. David Ms. Virginia Clementi Mr. &: Mrs. John Kaplan Mr. &: Mrs. Lynn A. Townsend Mr. Ronald Dobbins The Honorable &: Mrs. Avern L. Cohn Mr. &: Mrs. Daniel Karnowsky Mr. &: Mrs. James J. Trebilcott Mrs. Charles M. Endicott Mr. Thomas Cohn Dr. &: Mrs. Charles Kessler Mr. &: Mrs. Robert C. VanderKloot Mr. 'Herman Frankel Mr. &: Mrs. Jeff Connelly Mr. &: Mrs. Eugene L. Klein Mr. &: Mrs. George C. Vincent Mrs. Lawrence Garberding Mr. &: Mrs. Michael]. Connolly Mr. &: Mrs. Robert Klein Mr. &: Mrs. Gary Wasserman Mr. John C. Griffin Mr. &: Mrs. Peter Cooper Mr. &: Mrs. Gerald A. Knechtel Mr. &: Mrs. Kenneth Way Mr. Kenneth E. Hart Mr. &: Mrs. Richard Cregar Mr. &: Mrs. Semon E. Knudsen Mr. &: Mrs. Richard D. Webb Mr. Eugene Hartwig Mr. &: Mrs. Ronald Cutler Mr. &: Mrs. William Ku Mr. &: Mrs. Gary L. White Mrs. Verne Istock Julia Donovan Darlow Mr. &: Mrs. Richard P Kughn Mr. &: Mrs. R. Jamison Williams Mr. Leonard C. Jaques &:John Corbett O'Meara Dr. &: Mrs. Richard W Kulis Dr. &: Mrs. Sam B. Williams Mrs. William E. Johnston Mr. &: Mrs. Lawrence N. David Mr. &: Mrs. Ronald C. Lamparter Mr. &: Mrs. Eric A. Wiltshire Mrs. Charles Kessler Mr. &: Mrs. John W Day Dr. &: Mrs. Robert Levine Mr. &: Mrs. Donald Worsley Mrs. Robert Klein Mr. &: Mrs. David Denn Mr. &: Mrs. David B. Lewis Mr. &: Mrs. R. Alexander Wrigley Mr. Gerald A. Knechtel Mr. &: Mrs. Robert N. Derderian Mrs. Leonard T. Lewis The Honorable Joan E. Young &: Richard W Kulis D.D .S. Mr. &: Mrs. Robert E. Dewar Mrs. Walton A. Lewis Mr. Thomas L. Schellenberg Mr. David Baker Lewis Dr. David DiChiera Dr. &: Mrs. Kim K. Lie Mr. &: Mrs. Ted Zegouras Mr. A. C. Liebler Karen VanderKloot DiChiera Mr. &: Mrs. A. CLiebler Mr. &: Mrs. Morton Zieve Mr. Harry A. Lomason Mr. &: Mrs. Ronald Dobbins Mr. &: Mrs. Robert Lisak Mrs. Paul Zuckerman Mr. Alphonse Lucarelli Mr. &: Mrs. Cameron B. Duncan Mr. &: Mrs. Harry A. Lomason Ms. Lucia Zurkowski Mr. Jules L. Pallone Lady Jane Easton Mr. &: Mrs. James H. LoPrete Mr. Roy Zurkowski Mrs. Irving Rose Mrs. Charles M. Endicott Me &: Mrs. Alphonse S. Lucarelli Mr. Louis R. Ross Mrs. Hilda Ettenheimer Mrs. Jessie B. Mann FOUNDING MEMBERS Mrs. David Ruwart Mr. &: Mrs. Paul E. Ewing Mr. &: Mrs. Frank S. Marra Mr. Alan E. Schwartz Mr. Stephen Ewing The HonorableJack Martin &: Mr. and Mrs. Lynn A. Townsend Mrs. Roger F Sherman Mr. &: Mrs. Alfred J. Fisher,Jr. Dr. Bettye Arrington-Martin Founding Chairmen Mr. S. Kinnie Smith, Jr. Mr. &: Mrs. Alfred J. Fisher, III Me &: Mrs. William T. McCormick Mr. Frank Stella Mr. &: Mrs. Charles T. Fisher, III Mrs. Wade H. McCree,Jr. Mr. &: Mrs. Avern L. Cohn Mrs. George Strumbos Mr. &: Mrs. Louis P Fontana Mr. &: Mrs. Eugene· Miller Mr. &: Mrs. John DeCarlo Mr. Robert C. VanderKloot Mr. &: Mrs. Nathan Forbes Mr. &: Mrs. Theodore Monolidis Dr. &: Mrs. David DiChiera Mr. Gary Wasserman Mr. &: Mrs. Herman Frankel Mr. &: Mrs. E. Clarence Mularoni Mr. &: Mrs. Aaron H. Gershenson Mr. Richard C. Webb Mr. &: Mrs. Marvin A. Frenkel Mr. &: Mrs. Eddie Munson Mr. &: Mrs. Donald C. Graves Mrs. R. Alexander Wrigley Mrs. Roy Fruehauf Mrs. Reva Muss Honorable &: Mrs. Roman S. Gribbs Mr. Morton Zieve Mr. &: Mrs. Lawrence Garberding Mr. &: Mrs. E. Michael Mutchler Mr. &: Mrs. John C. Griffin Dr. &: Mrs. Robert Gerisch Mr. &: Mrs. Jules L. Pallone Mr. &: Mrs. Harry L. Jones Mr. &: Mrs. Frank Germack,Jr. Mr. &: Mrs. James Pame! Honorable &: Mrs. Wade McCree,Jr. BOARD OF TRUSTEES Mrs. Aaron H. Gershenson Dr. Robert E. L. Perkins Mr. Harry J. Nedetlander 1995-1996 Mr. &: Mrs. Yousif Ghafari Mr. &: Mrs. Brock E. Plumb Mr. E. Harwood Rydholm Mr. &: Mrs. Andy Giancamilli Mrs. Ralph Polk Mr. &: Mrs. Neil Snow Mr. Robert E. Dewar, Chairman Mr. &: Mrs. Vito P Gioia Mrs. David Pollack Mr. &: Mrs. Richard Strichartz Mr. &: Mrs. Dennis Gormley Mr. &: Mrs. John Rakolta Mr. &: Mrs. Robert C. VanderKloot Dr. &: Mrs. Roger M. Ajluni Mr. &: Mrs. Alan L. Gornick Mr. &: Mrs. Eugene Robelli Mr. &: Mrs. Sam B. Williams Mr. Roger Ajluni,Jr. Mr. &: Mrs. H. James Gram Mr. &: Mrs. Hans Rogind Mr. &: Mrs. Theodore O. Yntema Copyright 2010,- Michigan29 - Opera Theatre You MAKE OUR CITY SING.

General Motors Corporation congratulates the Michigan Opera Theatre on its 25th anniversary and the grand openingof its world-class Detroit Opera House.

CHEVROLET • PONTIAC • OLDSMOBILE • BUICK • CADILLAC • GMC

Setting: Latin Quarter of Paris, ca. 1830.

CHARACTERS: Marcello , an artist (baritone) ; Rodolfo , a poet (tenor); Colline, a philosopher (bass); Schaunard, a musician (baritone); Benoit, a landlord (bass); Mimi, a seamstress (soprano); Parpignol, a vendor of toys (tenor) ; Musetta, a girl of the Latin Quarter (soprano) ; Alcindoro, an admirer of Musetta (bass) ; Customs guard (bass) ; frequent visitors to the Latin Quarter, merchants, shopgirls , students , vendors, soldiers, waiters.

SYNOPSIS ACT I. It is Christmas Eve in an attic apartment in Paris. Cold and hungry, Marcello first considers burning a chair to keep warm, th en his painting The Passage through th e Red Sea. Finally, as Rodolfo ignites one of his own manuscripts, philosophy student Colline returns from an unsuccessful attempt to pawn his books. But suddenly, Schaunard appears with food , drink, and firewood bought with mon ey from one of his patrons. When the landlord, Benoit, arrives demanding the overdue rent, he is plied with drink and then thrown out of the apartment. The "Bohemian" friends decide to celebrate, but Rodolfo stays behind to finish an articl e. When Mimi , a neighbor, comes seeking light for her candle, she has a coughing fit and faints in Rodolfo's arms. After he revives her, Mimi discovers that she has lost her key. Rodolfo helps her look for it, and their hands touch ("Che gelida manin a"); they begin to exchange confidences. When his friends call from the street below, Rodolfo opens the window; moonlight streams in , illuminating the room. Mimi and Rodolfo ecstatically declare their love ("0 soave fanciulla "), after which they rush off to the Latin Quarter to join the festivities.

ACT II. Later the same evening in the Latin Quarter, Rodolfo buys Mimi a bonnet. Then they join their friends at the Cafe Momus, where they order a sumptuous dinner. Musetta, a former sweetheart of Marcello , appears with Alcindoro, her wealthy admirer. When she sings about how men are attracted to her ("Quando me'n vo' soletta"--Musetta's Waltz) , Marcello is enchan ted. The fickl e Musetta contrives to get rid of Alcindoro , whom-she sends on an errand. She and Marcello embrace, and the friends leave the cafe. When Alcindoro returns, he realizes that not only has he been duped but also left with a large bill.

ACT III. On a cold February morning near one of the city gates, Mimi looks for Marcello. When she finds him, now employed at a nearby tavern , she reveals how insanely jea lous Rodolfo has beco me. Their conversation is cut short when Rodolfo , who had been sleeping in the tavern , appears. Mimi hides behind a tree, only to hear Rodolfo complain about her coquettish ways. Finall y, however, he confesses that he loves Mimi more than ever, yet knows that she is near dea th , which he fears will be hastened by the m~se rable life th ey lead. Sobbing, Mimi emerges and insists they should separate. After bidding one another a reluctant farewell ("Addio , dolce svegllare"), th ey reconsider and decide to stay together at least until spring. In the meqntime, Musetta and Marcello quarrel and finally separate, but Rodolfo and Mimi leave together.

ACT IV. Months later in the attic apartment, Rodolfo and Marcello , both of whom have quarrelled with their sweethearts, recall how happy they used to be. Marcello takes Musetta's ribbons from his pocket and kisses them, while Rodolfo remembers his fanner happiness with Mimi ("A h, Mimi, tu piu"). Schaunard and Colline enter with food and drink, and everyone's spirits are uplifted. But suddenly Musetta bursts in, crying that Mimi is deathly sick. They bring her into the apartment and place her on Rodolfo's bed. Musetta gives up her earrings , and Colline sacrifices his coat to buy medicine and a muff for the dying Mimi. Marcello leaves to find a doctor. Left alone, Rodolfo and Mimi reconcile once again , declaring their love. The friends return, and Mimi closes her eyes in exhaus ti on. Rodolfo tri es to shield her from the light coming through the window, but suddenly Schaunard whispers that Mimi is dead. Rodolfo cries out her hame, rushes to the bed, and sobs uncontrollably.

Copyright 2010, Michigan Opera Theatre - 32 - While he was working on the opera, Puccini encountered the composer Ruggiero Leoncavallo, who had achieved fame the previous year with I Pagliacci. When Puccini mentioned that he was writing an opera based on Mllrger's novel, Leoncavallo angrily replied that he was composing an opera on the same theme, the libretto of which he apparently had shown Puccini the previous winter. Neither composer would abandon the project; instead, both of them raced ahead, each determined to hav.e the first production. Puccini won the race, and his La Boheme was premiered at the Teatro Reglo in Turin on 1 February 1896, conducted by the very young Arturo Toscanini. Leoncavallo's La Boheme was not produced until the following year, on 6 May 1897, at the Teatro la Fenice, but it was far better received than Puccini's opera had been.

Indeed, Puccini's La Boheme, now arguably the composer's best-loved opera, drew scathing reviews from the critics after its premiere: the music was generally considered too happy for an opera with such a tragic ending. The audience, on the other hand, was apathetic. Even when La Boheme was repeated in Rome soon afterward, it was received coldly. Finally, however, when it was produced later the same year in Palermo , it triumphed. It fact , there was such an ovation that the entire death scene had to be repeated! The success of Puccini's opera qUickly overshadowed Leoncavallo's La Boheme, which all but disappeared from the repertoire.

Few would disagree that Puccini's most outstanding musical charac teristic is the sheer beauty of melodic line--particularly, in Mosco Carner's words, the "sensuous warmth and melting radiance of the vocal line. " Indeed, nowhere is this more evident . than in La Boheme, where the melodies are characterized by lyricism , sweetness , gentleness, and poignancy, with settings that are nearly always syllabic, without scales and arpeggios.

Ano ther characteristic that dominates Puccini's operas is theatrical effect, in which contrast is a key element. In La Boheme rapid shifts of mood make the opera more believable, as does the extensive use of comedy, particularly in the numerous ensembles, of which the Benoit episode in Act I and the "Bohemian" horseplay in Ac t IV are fine examples. Other remarkable ensembles include the quartet at the end of Ac t III which contrasts the two pairs of lovers , one affectionate and the other quarreling, and the Cafe Momus scene on Christmas Eve with its kaleidoscopic use of voices and orchestra.

Puccini had an unusually keen ear for novel harmonic effects and for expressive orchestration. Harmonic surprises abound in La Boheme, for example Mimi's entrance into the apartment in Act I is accompanied by a sudden key change from G major to the gentler G-flat. The orchestra , whether painting a scene, reinforcing a mood, contributing to character delineation, or underlining the stage action, is consistently effective but always restrained. The gaiety and brilliance of the Latin Quarter on Christmas Eve in Act II , and the bleakness of a winter morning--open fifths played staccato by flutes and harps to suggest the falling snow--at the beginning of Act III are only two examples of atmospfieric pictures that Puccini paints through music.

Sometimes Puccini's operas are criticized for being too sentimental, and his musical and dramatic style is unfairly compared to that of Verdi. Yet Puccini never envisioned himself as Verdi's successor, even though many people considered him to be. He never intended to write great artistic works, but lyrical operas that appealed to the heart. His instinct for the theatre, blended with his ability to write effectively for the voice, to envision exciting orchestral color, and to create a mood make his operas masterful.

Setting: Verona, 14th century.

CHARACTERS: Romeo Montague; the Duke of Verona; Capulet, a nobleman; Montague, a nobleman; Juliet's nurse; Juliet Capulet; Mercutio, Romeo 's friend; Benvolio, Romeo's friend ; Paris, a kinsman of the Duke; Tybalt, Capulet's nephew; Friar Laurence; Capulets; Montagues; citizens of Verona; servants; party guests.

SYNOPSIS Act I. Scene 1. It is early morning on a street in Verona. Romeo appears, lost in thought, not even noticing those who attempt to greet him. Gradually, more people come out to begin the day, and the revellers return home. Suddenly, a quarrel erupts, then a serious fight , which ceases when the Duke of Verona enters. He asks the elder Capulet and Montague, whose families are locked in a deadly feud in the city what preCipitated the fight.

Scene 2: At the home of the Capulets, servants prepare for a ball. Juliet is unwilling to attend, but her nurse persuades her to change her mind. After looking at herself in a mirror, Juliet runs out. Guests begin to arrive; then Romeo , Mercutio, and Benvolio enter, masked to aVoid being discovered at the home of the Capulets. Romeo admires Juliet, who is danCing with Paris, to whom she seems indifferent. When Romeo approaches her, Juliet runs away. Suddenly Tybalt recognizes the intruders; he is restrained by the elder Capulet and eventually led away by his friends. After the guests leave, Juliet enters the darkened ballroom, searching for the flower she dropped during her meeting with Romeo. Suddenly, Romeo appears, and the two dance together.

Act II. Scene 1. At a holiday festival , the people of Verona celebrate with a folk dance. Romeo appears, lost in thought about the lovely Juliet, for which Mercutio teases him. The crowd is merry, enjoying the music of a brass band, then of a mandolin group, Suddenly Juliet'S nurse appears, looking for Romeo. When she gives him Juliet's ring, he runs off, terribly agitated.

Scene 2. In a monastery cell, Romeo and Friar Laurence are soon joined by Juliet, who is dressed for her wedding day. The Friar marries them. As the curtain closes, the sounds of merry-making are heard, as the people of Vero na continue to celebrate the holiday.

Scene 3. In the street, Mercutio and Benvolio enjoy the festive danCing, but they are interrupted by Tybalt, who glares angrily at Mercutio. Romeo arrives and tries to make peace, but Tybalt throws down his glove, a challenge that Romeo refuses. Mercutio attacks Tybalt, but is himself mortally wounded. Prodded by Benvolio, Romeo vows revenge , fights with Tybalt, and kills him. Benvolio urges Romeo to escape, while the Capulets mourn their dead relative and swear revenge on the house of Montague.

Act III. Scene 1: In Juliet's bedroom, the lovers awaken. They bid each other farewell, and Romeo leaves. As Juliet gazes longingly after him, her nurse enters to warn that her parents are approaching, accompanied by the young nobleman, Paris. The Capulets arrive . and announce Juliet'S betrothal to Paris, who presents Juliet with a bouquet of flowers. Grief stricken, Juliet weeps, then becomes angry, but her father vows to disown her is she disobeys his wishes. Left alone again, Juliet determines to visit Friar Laurence.

Scene 2. In Friar Laurence's cell, Juliet receives a sleeping potion that has the power to simulate death.

Scene 3. In her bedroom, Juliet agrees to marry Paris and dances with him. After sending everyone away, she embraces the potion and dances with it. She finally drinks it, and falls into a death-like sleep. To the sound of mandolins, Paris and his entourage return with presents for Juliet. Young girls with flowers dance, but Juliet does not awaken. Her nurse approaches her bed and discovers that Juliet is dead.

Act IV. ("Epilogue") AtJuliet's grave, Romeo is so overcome with grief that he kills himself. Just then,luliet awakens and sees that Romeo is dead. She stabs herself, embraces his body, and dies.

Setting: In and near Paris, ca. 1850.

CHARACTERS: Violetta Valery, a courtesan (soprano); Dr. Grenvil, Violetta's physician (bass); Marquis d'Obigny, a nobleman (bass); Flora Bervoix, a friend of Violetta (mezzo-soprano); Baron Douphol, Violetta's "protector" (baritone); Gastone, Viscount of Letorleres ( tenor); Alfredo Germont, lover of Violetta (tenor); Annina, Violetta's maid (mezzo-soprano); Giorgio Germont, Alfredo's father (baritone); guests, masqueraders, dancers, and servants.

SYNOPSIS ACT I. Violetta is giving another brilliant party, for which she is famous all over Paris. Although gravely ill, she ignores her health and lives only for pleasure. She is introduced to Alfredo Germont, a young gentleman who has been secretly in love with her for some time. Suddenly she becomes dizzy, but recovers and promises her guests (which include her "protector," Baron Douphol) that she will join them in the ballroom. Alfredo remains and declares his love. After protesting at first, Violetta gives him a flower and promises that he may see her when it fades. Guests drift back into the drawing room and then depart, leaving Violetta alone to envision a life of happiness with Alfredo. But soon she pushes aside this fantasy, determining to resume her life of pleasure. When she hears Alfredo's voice outside, singing the passionate melody to which he had earlier declared his love, she pauses briefly, but then continues her frantic determination to enjoy her life to the fullest.

ACT II. Scene 1: In his country home, Alfredo rejoices that Violetta has renounced her glamorous life for him. But when he learns that she has been selling her possessions to support him, he leaves Paris to raise some money. Alfredo's father visits Violetta and demands that she end the relationship, maintaining tharthe scandal will eventually destroy his family. Although she declares that giving up Alfredo will hasten her death, Violetta finally agrees to tell Alfredo that she no longer loves him. Germont goes into the garden to await the return of his son, while Violetta tearfully writes her farewell letter. When Alfredo returns and discovers the letter, he thinks she has deserted him for the gaiety of Paris. Germont reappears and tries to console his son.

Scene 2: Alfredo and Violetta are guests at Flora Bervoix's party in Paris. Alfredo is winning at the gaming tables, and [ Baron Douphol (who has escorted Violetta to the party) challenges him to a card game. When Violetta warns Alfredo of Douphol's jealousy, he agrees to leave, but only if she will go with him. When she declares that she is bound by a promise and cannot accompany him, Alfredo believes that she has promised herself to Douphol. Angrily, he hurls his money at Violetta, provoking Douphol to challenge him to a duel. Giorgio Germont appears and denounces Alfredo for his ou trageous behavior.

ACT Ill: Dying of consumption, Violetta reads a letter from Giorgio Germont in which he promises that Alfredo will return to her. However, Violetta knows that the end in near. When Alfredo arrives, he begs for forgiveness , for he now knows the truth. He promises that they will return to their country home and find happiness there. Violetta, realizing that she is doomed and self-sacrificing to the end, expresses the hope that Alfredo will find a suitable bride. Finally, she cries out in anguish and dies.

Copyright 2010, Michigan- 38 - Opera Theatre THE OPERA It is hard to imagine that Verdi's La Traviata, now one of his best-loved operas, was poorly received at its premiere on 6 March 1853. The first-night audiences at Venice's Gran Teatro la Fenice rejected the work, and the next day Verdi declared to one of his pupils that La Traviata was a failure. "Is the fault mine or the singers'? ," he asked, then continued, "I don't know at all. Time will decide. " Indeed time has decided. La Traviata is now considered not only one of Verdi's best operas, but also one of his most appealing. Moreover, it is unique among Verdi's operas for the warmth and tenderness of its music, and for the sympathetic portrayal of its heroine, the frail and beautiful courtesan, Violetta.

There were several reasons why La Traviata was poorly received in Venice in 1853. The plot, based on the French play, La Dame aux Camelias ("The Lady with the Camellias") by Alexander Dumas the Younger, concerns the love between a courtesan and a gentleman. It was considered by many to be immoral, even though the Venetian censors had approved the opera libretto after its title was changed from Amore e morte ("Love and Death") to La Traviata ("The Woman Gone Astray" or "The Lost One"). Moreover, the opera was produced with contemporary scenery and costumes, an innovation that upset and confused the nineteenth-century audience. There were also casting problems: the tenor Ludovico Graziani (Alfredo Germont) was suffering from a cold and sang poorly; the baritone Felice Varesi , who apparently considered the role of Giorgio Germont as unworthy of his abilities, appeared awkward and unconvincing; and the soprano Fanny Salvini-Donatelli (Violetta), who was especially robust and rather healthy-looking, did not strike the audience as a woman dying of consumption, a disease with which most people were all too famiiiar at the time. In fact , in the final act when the doctor remarked that Violetta had only a few hou ~s to live, the house roared with laughter, at the very moment when it sgould have wept! When Varesi offered Verdi his condolences at the conClusion of the premiere, the composer replied curtly, "Offer them to yourself and to your colleagues, who like you have not understood my music." Later, Varesi complained that La Traviata had failed because Verdi did not know how to make the most of his singers, and that the composer had let them and the public down!

La Traviata was quickly withdrawn from the theater, and Verdi returned home to Busseto and then left for extended stay in Paris. Yet when the opera was revived a year later by Antonio Gallo at Venice's Teatro San Benedetto, with the setting and costumes pushed back 250 years and with an appropriate cast, it was enthusiastically received. Further triumphs followed in one Italian city after another, and before the end of 1856 La Traviata had also been acclaimed in London, St. Petersburg, N~w York, and Paris. Criticisms continued, however, especially in Victorian England and America, where the plot continued to cause controversy. The London Times decried the "foul and hideous horrors" of the libretto, while the critic of The Athenaeum was scandalized by Violetta, who offended "maidenly reticence and delicacy. " Yet such publiCity only made La Traviata more popular. The manager of Her Majesty's Theatre in London, who was temporarily saved from ruin by the vogue of La Traviata during the late 1850's, described in his memoirs the mania that possessed the public: the "frantic crowds" struggling in the lobbies of the theatre, even torn dresses and crushed hats!

La Traviata is appropriately named for its heroine, Violetta, for it is. pre-eminently a prima donna's opera, and it is Violetta's character that is at the heart of the story. Yet, although Violetta is indeed a "woman gone astray," she is not a prostitute who sells her favors indiscriminately. She is a courtesan, a woman who is "kept" by an aristocrat. In other words, she is his mistress, a common relationship in nineteenth-century aristocratic society. But nineteenth-century opera audiences were unfamiliar with such realistic themes, and although the age of realism had dawned in many of the other arts, it had not yet extended to operatic subjects.

Copyright 2010,- 39Michigan - Opera Theatre Therefore, when Verdi chose Dumas the Younger's play La Dame aux Camelias (usually called in this country "Camille"), based on the author's own best-selling novel of 1848, as the subject of his eighteenth opera, he was actually navigating uncharted operatic waters. Even Dumas's play was innovative, for it was actually one of the first spoken dramas to take contemporary life as its theme and to deal sympathetically with a modern courtesan. Verdi had seen the play in Paris during a three-month stay in 1852-53 and immediately realized its operatic possibilities. Moreover, the subject matter somewhat refle2ted his own situation at the time, living with the talented soprano Giuseppina Strepponi, to whom he was not married, but with whom he had two children.

Of course, Giuseppina was not a courtesan and would eventually become Verdi's second wife. But Dumas's play was actually autobiographical, based on his own love affair with the courtesan Marie Duplessis (a peasant from Normandy, born Alphonsine Plessis) , who had died of consumption in 1847. Marie Duplessis had belonged to the "demi-monde ," an expression invented after her death by Dumas himself in his play Le Demi-Monde (1855). Society women, who were no longer accepted by their peers-either because of an affair or some other indiscretion, formed the demi-monde. Often rejected even by their families, many sought support from wealthy men and became courtesans. Yet because they were educated, they were able to provide much more than sex; they could converse, dance, play music, ride horses, and arrange elegant parties-in short, they were usually excellent companions. Despite her humble birth, Marie Duplessis belonged to this group of refined and intelligent courtesans. The composer Franz Liszt described her as having an "enchanting nature" and was apparently captivated by her conversational skills.

DU!llas had met Marie in 1844 when they were both twenty years old. By then she was at the height of her career and already had quite a reputation in Paris, while he had not yet published anything and was known only as a famous author's son. Dumas and Marie fell in love , but eventually parted. When Marie died of consumption just after her twenty-third birthday, Dumas rushed back to Pa·ris; he began writing the novel based on their relationship a few days later. When he turned the novel into a play, which at first was banned by the censors, it generated much controversy. Indeed, marriage had been assailed and free love championed!

Verdi was undaunted by the controversy and asked the stage poet Francesco Piave to turn Dumas's play into an opera libretto. Although Piave preserved much of the original play in his libretto for La Ii'aviata, he reorganized the unusually informal sequence of scenes that constitute the play's five acts into three acts with four scenes that focus on three principal characters: Violetta, her lover Alfredo Germont, and his father Giorgio Germont. Violetta is drawn as a self-sacrifiCing woman who is passionately sincere and quite aware that she will never enjoy the new life for which she longs. Even if she were not gravely ill, society would never allow her to forget her past.

Besides the innovative use of a realistic plot, Verdi also broke new ground in his music for La Traviata. The score is truly memorable: never before had the orchestra been used with such dramatic force in Italian opera; never before had voices been used with such freedom ; never before had ensembles contributed so importantly to the unfolding of the story.

Although La Traviata broke new ground in Italian opera , both in music and in plot, the realism of the story had posed numerous problems for Verdi, even though the courtesan Violetta as the self sacrificing victim fit in very well with the conventions of romantic opera. But Verdi never again tackled such a realistic subject. Instead, he turned once again to historical topics and to Shakespeare. After embarking upon a brief association with French opera, he then wrote three final Italian operas: Aida, Otello, and Falstaff It remained for later Italian composers, such as Giacomo Puccini, to concentrate on realistic subjects and to create the "verismo" operatic movement of the next generation.

SYNOPSIS From the moonlit terrace of Herod's palace, Narraboth, captain of the guard, gazes rapturously inside at the Princess Salome, who is feasting with her stepfather, the Tetrarch Herod, and his court. A page warns him not to stare so intently lest something terrible happen. The voice of the prophet Jochanaan proclaims the Messiah's greatness echoing from a deep cistern, where he has been imprisoned by the tetrarch; two Soldiers comm ent on the prophet's kindness and Herod's fear of him. Salome, bored with Herod's lecherous glances and his coarse guests, rushes out to the terrace for some fresh air. She becomes curious when she hears Jochanaan curse Herodias, her mother. When the guards refuse to let her speak to Jochanaan, Salome turns her wiles on Narraboth, who orders thatJochanaan be allowed to come forth. Salome is fascinated by the prophet's deathly pallor and pours out her uncontrollable desire to touch him. The prophet rejects her, speaking of the Son of God who will come to save mankind. When Salome continues to beg [or Jochanaan's kiss, Narraboth stabs himself in horror, and the prophet descends into the cistern, cursing the girl. She collapses in frustration and longing.

Looking for Salome, Herod appears, followed by his court; remarking on the strange shape of the moon, he slips in Narraboth's blood and, unnerved, is visited by hallucinations. Herodias scornfully dismisses his fa ntasies and suggests they withdraw. Herod's thoughts turn to Salome, who spurns his attentions. Renewed abuse fromJochanaan's subterranean voice harasses Herodias, who demands that Herod turn the prophet over to the Jews. Herod refuses , maintaining Jochanaan is a holy man . His words incur an argument among the Jews concerning the nature of God, and a narrative of Christ's miracles by two Nazarenes. As Jochanaan continues his denunciation, the queen furiously demands his silence. Herod begs Salome to divert him by danCing and offers her anything she might wish in return. Salome makes him swear he will live up to his promise, then dances shedding veils and finishing at Herod's feet (Dance of Seven Veils). She shocks the monarch by asking for the head ofJochanaa n on a silver platter. She is refused by the horrified Herod, but Herodias laughs approvingly. In desperation Herod offers alternatives - jewels , rare birds, the sacred veil of the Temple. But Salome persists until the terrified king finally gives in. As an executioner goes down into the cistern, Salome peers impatiently over the edge. At last an arm thrusts from the cistern offering the head to Salome.

As clouas obscure the moon, Salome seizes her reward paSSionately, addressing Jochanaan as if he lived and triumphantly kissing his lips. Overcome with revulsion, Herod orders the soldiers to kill Salome. They crush her beneath their shields.

Courtesy of the Detroit Institute of Arts/Detail from Arthur Bowen Davies - Dances Copyright 2010, Michigan- 42 - Opera Theatre ALL SORTS AND KINDS OF SALOMES Excerpted from The Theatre magazine; New York, NY 1909 By Harri et E. Coffin

Salomania is not a new craze. Medieval legend depicts Salome blown upon by the Mighty Breath for having caused the Prophet's death by her dancing, and by way of punishment being whirled into space, where she is doomed to dance and whirl forever. Thus Salome joined the "furious host," a roaming band of banished spirits which haunted medieval Europe with their restlessness. Berchard of Worms reports with twelfth century gravity that fully one-third of the whole world worshipped her. We still seek her shrine, but we do not always worship.

Salome, as we know her today, has evolved gradually from the brief accounts given of her in the Bible, and she has inspired poets, painters, dancers, dramatists and composers. The subject "Salome Dancing" has appealed particularly to artists of all ages, from the fourteenth century manuscript which reveals her "vaulting before Herod" on her hands, to several pictures by the old masters.

The numerous vers,ions of the story are conflicting. Some, based upon the meager Biblical account, are historical, while others follow the Oscar Wilde dramatic poem, vivid in the - color of its word-painting and unpleasantly morbid in its imagination. 'Historically Salome was a "Korasian", which in Hebrew "damsel," innocent of evil motive, but the victim of her wicked mother's revenge. She is terror-stricken at the Sight of the head ofJohn the Baptist, and remorseful. Renan in his "Life oEJesus" suggests the interpolated love of Salome for the Prophet, and in Flaubert's "Herodias" the motive is further emphaSized. Sudermann's "Johannes" deals with this theme more gently, while in Wilde's version Salome is imbued with a revoltingly morbid motive for her crime - sexual passion for John the Baptist.

Some [time] ago, Sarah Bernhardt presented the Wilde drama at the Palace Theatre in London, but the censor prohibited it after the first performance. Oscar Wilde later tried to sell her the drama, which she refused.

Since that time the cen~rship of London has become less strict, since it was at the Palace Theatre that Maud Allan, with her wondrous grace and her bare feet , trod upon British conservatism and captured the metropolis by the phenomenal success of her dance, "The Vision of Salome. "

In France the Wilde drama was suppressed; but in Germany, from the first , this latter-day revival of the Salome cult has found support. Lili Marbourg appeared as Salome in the Dresden production of the Wilde play several years ago with great success. In America, Mercedes Leigh gave the play for the first time at the Berkeley Lyceum.

Julia Marlowe appeared in New York as Salome in Sudermann's poetic drama , "John the Baptist. " Fremstad was seen as Wilde's Salome to the accompaniment of Richard Strauss' music at the Metropolitan Opera House. Further performanc.es of the morbid Strauss opera were promptly forbidden by the Metropolitan'S board of directors. This suppression acted naturally as a tremendous advertisement, and soon the American stage was invaded by all sorts and descriptions of Salomes.

Copyright 2010, -Michigan43 - Opera Theatre The Outlook patted New York on the head for being good, in the following words: "It is to the credit of New York that the usual cant has not been heard in this case, and that an instinct sound alike in morals and in art has expressed itself not only promptly but efficiently." But New York did not stay "good". Instead, it welcomed the "furious host" of Salomes which quickly followed with open arms.

There have been many criticisms of the Salome dancers. They have been denounced as morbid and vulgar in their interpretations, and yet the public has flocked to see them. It should not be forgotten that the essential part of every performance is the audience. Without the audience there would be no dance at all. The managers have only provided what they saw there was a demand for.

Two years ago, Salome, Venus-like, rose to the surface of things dramatic, and she is still on the crest of the wave. There was hardly a theatre or vaudeville house in this country which did not harbor a Salome dancer, male or female , from a one-week engagement to a three-month headline. The American girl, Maud Allan , may be said to have been the pioneer of the present revival. Astonishing success attended her public appearances in Berlin, sensational features of her performance being bare feet and more that scanty attire. Breathless cable reports declared that literally she wore nothing but smiles and a few glass beads. Miss Allan went to London and repeated her triumphs. The theatre was so crowded every night that seats were unobtainable for love or money, and cabinet ministers fell over each other in paying her honor. All this enthusiasm because a comely young person, who danced passably well, had the courage to exhibit her undraped curves in the full glare of the footlights. As a money-maker the show was a distirict success, and Miss Allan found speedy imitators in America.

Gertrude H,offmann 'appeared in imitations of Maud Allan at Hammerstein's Roof Garden with great success. La Sylphe, who claims priority over Maud Allan in the costuming and arrangement of the dance, was , in fact, the first to appear as Salome in this country. Her dance follows very close to the Biblical story, her interpretation being contortion dancing, which she claims is the true Oriental method. Eva Tanguay, who danced at various vaudeville houses in New York, appeared in the most daring undress ever seen on the stage. She followed the simple Bible account, and emphasized the sprightly youthfulness of the girlish Salome, entirely free from morbidness of motive, Lotta Faust, seen in "The Mimic World" at the Casino , portrayed Wilde's description of Salome, "A shadow of a white rose in a mirror of silver. " Laura Guerite, who succeeded her, gave a sumptuous characterization, and was called the "Spotlight Salome." It would be difficult to mention all of the Salomes who courted public favor, for their name is legion. It were better to toast them all, so that none may be left out, not even the

Dr. Otto Nietzel, the well-known critic, throws the responsibility for the dance upon America, saying that the Dance of the Seven Veils is nothing but the "danse du ventre," first made popular at the World's Fair, on the Midway. The music is said to be written one-half tone off, in order to emphasize its emotional effect.

ACTON Conductor, Chorus Master (Michigan) Baritone (Tennessee) MOT Credits MOT Credits Chorus Master/Assistant Music Director Crown, Porgy and Bess 1987 since 1981 Crown, Porgy and Bess 1982 1996 Spring Season 1996 Spring Season Chorus Master, La Boheme, La Traviata, Jochanaan, Salome Salome Salome, Canadian Opera Company; Don Giovanni, Tulsa Condu ctor, Michiga n Ope ra Thea tre , Th e Daughter of th e Opera; Samson et Dalila, Metropolitan Opera; Aida, Arena Regiment , The Barber of Seville, Th e Music Mall , Th e Pirat es di Verona; II Tro vatore, Salome, Metropolitan Opera, of Penzallce; Co ndu ctor, Daytol] Opera, La Tra viata , West Glydebourne Festival, Covent Garden; Beethoven's Nillth Side StOlY , My Fair Lady, Th e Pirates of Pellzallce; Coach , Symphony, Pittsburgh Symphony, Los Angeles Opera Theatre of 51. Louis, San Diego Philharmonic, Cleveland Orchestra, Hollywood Bowl

ALEKSANDAR ANTON BELTRAN Dan cer (Yugoslavia) Tenor (Chile) MOT Debut MOT Debut 1996 Spring Season 1996 Spring Season Romeo , Rom eo al1dJuliet Rodolfo, La Boheme Zuri ch Ballet Corps de Ba ll et 1989, Demi-Solofst I989; Macbeth , La Boheme, Toulouse Opera; Rigoletto, Monte National Ball et of Canada Second So loist 1991- 1993 , First Carlo Opera; La Rondine, Ludwigshafen Festival; Der Soloist 1993-1995, Principa l Dancer 1995; repenoire RosellllOvalier, La Boheme , San Francisco Opera, Covent includ es, Th e Firebi rd ; La Sy lph ide , IIianls , Giselle, Don Ga rd en; Rigoletto, La Prillcesse dll Trebizollde, Lucia di Quixote, Romeo alld]uliet, Swa ll Lalie, The Sleepillg Beauty Lammermoor

So prano (Spain) Bass (Michigan) MOT Debut MOT Credits Basilio, The Barber of Seville 1993 1996 Spring Season Friar, Romeo et Juli ette 1990 Violetta Valery, La Traviata Basilio, The Barber of Seville 1987 La Boheme, La Ti'aviata, Metropolitan Opera; La Ce ll erent ola , Palm Beac h Opera; Carmell, Scottish Opera; 1996 Spring Season Rigolello , Co mpania de Opera de Monterrey; Faust , Alcindoro, La Boheme Mexico City, Sea ule Opera; Lcs Pec heurs de Peries , Seaule Opera; winner of 1993 Metropolitan Opera Nati onal Me tropolitan Opera, The Ghosts of Versailles , TIre Abductioll Cou ncil Auditions from th e Seraglio, The Bartered Bride, The Italiall Girl ill Algiers, TIre Barber of Seville, The Daughter of the Regimellt , Tallllhatiser, Fidelia, Rigoletto, Malloll Lescaut; New York City Opera, Die Meisters inger, Faust, Th e Magi c Fitlle

DENNIS BERGEVIN Director (A ustria) FRANK MOT Debut Co-D irecto rs, Elsen Associa tes (Pennsylvania) 1996 Spring Season MOT Credits Director, Sa lome Resident Hair and Make-Up Designers since 1988 An istic Director of Opera Ly ra Ouawa since 1988; Cove nt Garden; Vienna State Opera; Lyric Opera of 1996 Spring Season Chicago; Houston Grand Opera; Deutsche Oper Berlin; Salome, San Francisco Opera; Madame BUlle/fly, The Resident Hair and Make-Up, Washington Opera; Die Za ube/flote, Cosi fall tutte, the La Boheme, La Traviata , Sa lome Nat ional Ans Centre; former Resident Direc tor of the New York Shakespeare Festival; Radio Ci ty Music Hall ; Canadi an Opera Co mpany; founding Associate Director Washington Opera; Philadelphia Opera; Florida Grand Opera; of the Los Angeles Music Cent er Opera Piusburgh Opera; Dallas Opera; Spoleto Festival; Edinburgh Festival; Broadway, Merchant of Venice ; PBS and HBO

Copyright 2010,- Michigan45 - Opera Theatre BARBARA L. BLAND HELEN Soprano (Texas) MOT Debut 1996 Spring Season 1996 Spring Season Annina, La Traviata Mimi, La Boheme So loist, Pontiac-Oakland Symphony; Soloist, Oakland Le Nozze di Figaro, Fedelio, Der Rosenlwvalier; Metropo litan University-Community Chorus; Arts 01 Noon , Oakland Opera; Turandol , Covent Garden; Der Freishatz, Berlin University; South Pacific; Liltle Mary Sunshine; Anything Opera; Der Rosenlwvaliel; Washington Opera; Le Nozze de Goes; The Sound of Music; Bye Bye Birdie; Metropo litan Figaro, TlIrn of Ihe Screw, Florida Grand Opera; Die Opera Audition District Finalist Meislersinger von Narnberg, Seanle Opera; Le Nozze de Figaro, Opera Pacific; TlIral1dot, Cannen, Cologne Opera; Die Zallberfl6le, Hannover Opera; Tannl"illser, Autstin Lyric Opera; over 100 recordings

Tenor (New Yo rk) Mezzo-Soprano (Tennessee) MOT Credits MOT Credits Don jose, Carmen 1981 joan of Arc,Joan of Arc 1979 1996 Spring Season 1996 Spring Season Herod, Salome Herodias, Salome Elektra, Lyric Opera of Chicago; Carmen, the Israel Metropolitan Opera, Salome, II Trovalore, Philharmonic, the Netherlands Opera, The Atlanta Opera; GOlterdammerung, Cannen, Don Carlo, Tristan lind Isolde, I Pagliacci , New Israeli Opera; Shining Brow , Madison Aida, Parsifal, Arabella, Die Walkare, Jenufa , Elehtra, Opera, Florida Southern College; Nosferatu, Canadian Tannhauser; Lyric Opera of Chicago; San Francisco Opera; Opera Company; Modem Painters , The Santa Fe Opera; the New York Philharmonic; the Philadelphia Orchestra; Kalya Kabanova, Peter Grimes, Cardillac, Salome, Teatro the Chicago Symphony; La Scala; Covent Garden; the Communale in Flo rence; Die Walkare, Seattle Opera Vienna State Opera; the Paris Opera; Deutsche Oper Berlin; Alice Tu lly Hall

Conductor (New York) MOT Credits Conductor, Swan Lake 1995, Cinderella 1996 Spring Season 1994, Th e Sleeping Beauty 1993 juliet, Romeo and Juli et 1981 , joined the Dutch National Ballet; Principal Dancer 1996 Spring Season with the Dutch National Ballet since 1987; repertoire Conductor, Romeo and Juli et includes Romeo and Juliet , Swan Lake , Giselle, The Sleeping Beauty, Cinderella, Petrushha, Apollo, 4 Temperaments , Resident Conductor of the Detroit Symphony Orchestra; Midsummer Nights Dream Music Director of the Dearborn Symphony; Pri ncipal Conductor of the Dance Theatre of Harlem; New York City Ballet; The New Yo rk Philharmonic

Mezzo Soprano (Kansas) MOT Debut 1996 Spring Season 1996 Spring Season Baron Douphol, La Traviata Flora , La Traviata Cannen , Hawaii Opera; The Golden Apple, Bitlersweel, Regina, Romeo et juliette, Cosi Jan tlltte, The Marriage oj Figaro, Light Opera Works; Candide, Skylight Opera Thetre; La Traviala, Guys and Dolls, A Little Night Music, Illinois The Rape of Lucretia, Yale Opera Theater; Romeo etjulietle, Opera; La Tragedie de Carmen, The Tempesl, Des Moines Metro La Boheme, A Little Night Music, Illinois Opera Theatre Opera; Alto Rhapsody, Elehlro, Chicago Symphony Orchestra; The Tender Lalld, Chicago Opera Theatre

Soprano (Michigan) MOT Credits MOT Credits Conductor, La Boheme 1988, Porgy and Rosina, The Barber of Seville 1970 Bess 1987, Orpheus in the Underworld 1986 , 1996 Spring Season Of Mice and Men 1980 Salome, Salome 1996 Spring Season Metropoli tan Opera since 1976 in cluding The Marriage oj Conductor, La Boheme, Salome Figaro, Ariadne auJ Noxos, Lady Macbeth oj Mtsens}" Carmell, Les Troyens; Salome, the San Francisco Opera, Lyric Opera Music Director of Houston Grand Opera, 1979-94; Music Director of of Chicago, the Los Angeles Opera, Covent Garden, the the Madison Symphony Orchestra and Madison Opera; Allila , Opera Washington Opera; CantJelI, Covent Garden, the Glyndebourne de Nice; Tasca , FalslaJJ, Australia; Aida , Tasca, Carmen, Opera Pacific; Festival, Australia, Japan; Tasca, Los Angeles Opera, Seville; MeJislOJele , Washington Opera; The Tales oj HoJJmann, A Midsummer Copyright 2010, Michigan Opera Theatre Madamo Butterfly , Los Angeles Opera; Alresle, Bastille Opera; Nighls Dream, Turandot, POigy and Bess, Houston Grand Opera; Cosi Jail tulle, The Barber oj Seville, Ariadne auJ Naxos, The Grammy Award ""nner for Palgy and Bess recording in 1978 Coronali oll oj Poppea, the Glyndebourne Festival FU Baritone (China) Soprano (Mississippi) MOT Debut MOT Credits Musetta, La Boheme 1990 1996 Spring Season Giorgio Germont, La Traviata 1996 Spring Season La Ii"viat", Metropolitan Opera, Opera Pacific, Ca lgary Musetta, La Boheme Opera, Vancouver Opera; La Boiteme, Metropolitan Opera, Un Ballo in Maschera , Metropolitan Opera; Falstaff, Grea ter Miami Opera, Philadelphia Orchestra; Rigaletto , rElisir d'amore, La Boitem e, Der Rosen}",valier, Die San Diego Opera, Edmonton Opera; appeared in Pavarotti ZaubClfiote , Houston Grand Opera; Hansel and Gretel , Plus i edition of Live from Lincoln Centel Dallas Opera; Tales of Hoffmann, Don Pasqual e, Washington Opera; La Boiteme , The Pearl Fishers , Opera Pacific; La Boheme, Cleveland Opera

MOT Credits Sacristan, Tosca 1995; The Bonze, Madame MOT 1996 Spring Season Buttelfly 1994; Wagner, Faust 1994 Rodolfo, La Boheme Mandarin, Turandot 1994 La Bolieme, Metropoli tan Opera, Houston Grand Opera, La Sca la; rElisir d'Alllore, Metropolitan Opera; La Traviata, 1996 Spring Season Hamburgische Staatsoper, Bilbao Festival, San Francisco BenoitJAlcindoro, La Bohem e Opera, Hamburg, Munich, Philadelphia; Madama Butterfly, Houston Grand Opera, Ca nadian Opera Company; Live Opera Delaware, Aid" , La Traviata , SI. Matthew Passion , from LiIlCO/1I Center with Luciano Pavarotti Verdi's Reqlliem , Beethoven's Ninth Symphony , Handel's Messiah; Stadttheater Regensberg , Toledo Opera, OperaiLenawee, Greensboro Opera, Virginia Opera

KIMBERLY GLASCO Dancer (Oregon) MOT Credits Aurora/Lilac Fairy, The Sleeping Beauty 1996 Spring Season 1993 Marcello , La Boheme 1996 Spring Season Winner of 1995 George London Award; Turandot , Juliet, Romeo and Juli et Cleveland Orchestra; Utaliana in Algeri, Cleveland Opera; Beethoven's Ninth Symphony, Oregon Natio nal Ballet of Canada's Corps de Ballet 1979-81 , Symphony; Bach's St Matthew Passion , Northwest Bach Second Soloist 1981-83; American Ballet Theatre 1983-84; Festival; Don Giovanni , Glimmerglass Opera; La National Ba llet of Canada First So loist 1985-87, Principal Boheme, Houston Grand Opera Dancer 1987-present; reperto ire in cl udes , The Merry Widow , Don Quixote , Swan Lalle , Giselle , The Sleeping Beallly, Romeo and juliel, Cinderella

Dancer (Russia) Ballet Mistress (Michigan) MOT Debut MOT Credits Ballet Mistress, Swan Lake 1995 1996 Spring Season Romeo, Romeo and Juliet 1996 Spring Season 1994-present, First Soloist with the Dutch National Ballet Mistress, Romeo and Juliet Ballet; 1990-1994, First So loist with the Kirov Ballet; Pittsburgh Ba llet Theatre, Principal Dancer; Principal 1990-1985, Soloist with Perm Ballet; repertoire Dancer for Ruth Page; Chicago Ballet, Principal Dancer; includes, Giselle, Swan Lake, Les Sylpliides , Tiie American Dance EnsemblelBallet Petrov; repertoire Sleeping Beauly, The Nutcraelier, Don Quixote , RallieD includes Swan Lalle, The NutcracilCr, Romeo and juliet, and juliet, Balanchine's Agon Coppelia , Don Quixote

VLADIMIR GRISHKO Tenor (Ukraine) MOT Debut 1996 Spring Season 1996 Spring Season Alfredo Germont, La Traviata Marquis d'Obigny, La Traviata The Tsars Bride, Madama Bilitelfiy, The Wash ington Second Soldier, Salome Opera; Nabllcco, Opern haus in Dortmund, the Bregenz Die Entjuhrung aliS dem Serail, Les Contes d'Hof!"''''''' , Festival in Austria; Prince Igor , La Bohtme, Llleia di Th e Magic Flute , The Barber of Seville, Aspen Music Lamm ernJOor , La Rondine , New York City Opera; La Festiva l; La Boite",e, Bach's SI. john Passion , Hand el's Ii-aviata , Opera Pacific; winner of Placido Domingo Messiah, the Windsor Symphony; Pu/cinella Sliite, Bach's Grand Prize and "Best Tenor" title in the 1989 Vinas Magnificat, the Detroit Chamber Winds; 1993 International Vocal Competition Copyright 2010, Michigan Opera Theatre Metropolitan Opera Regional Finalist MARY Soprano (Texas) MOT Debut 1996 Spring Season 1996 Spring Season Sa lome, Salome Mimi, La Boheme Metropoli tan Ope ra , I Pagliacci, Eugene Onegin , Otdlo; Arabel la , Me tropolitan Opera; The Dangerous liaisons, Salome, La Forza del Destino, Kirov Opera ; Th e In visible San Francisco Opera; Rigoletto, Florida Ope ra City oj Kilezh, Kirov Orchestra; Shasta ko vich's Association; Cannell , Th e Cunning little Vixen, Th e Symphony No. 14, Boston Symphony Orchestra; Verdi's Washington Opera; Louise, La Bohellle, Grand Theatre de Requiem, Philadelphia Orchestra; II Trovalore, Israel Geneve; Zalllpo, Wexrord Festiva l; Fedora , Bregenz Philhannonlc; La Clemenza di Tilo, Teatro Co lon Festival; La Bohellle, De Vlaamse Opera or Antwerp

ELIZABETH KEEN Choreographer (Ohio) MOT Debut MOT Debut 1996 Spring Season 1996 Spring Season Choreographer, Sa lome Sc haunard, La Boheme Ca rm en, Metropolitan Opera, New York City Opera ; The Un Ballo in Masch era , La Bohelll e, Le Ci d, Wozzecll , Wililers Tale, Animal Farm, The Temp es l, Yonadab, Royal Cosi Jan lutle, Lyric Opera or Chicago; Signor Deluso, Na tional Theatre, London; La Traviala , Falsliiff, Glydebourne; Baltimore Opera; II Barbieri di Siviglia, Arizona Opera; I A Comedy oj Errors , New York Shakespeare Festival ; Guys and Pagliacci, Salllson et Dalila , Toledo Opera; Cava ll eria Dol/s, Goodman Thea tre , Ch icago; rAnge de Feu, Wpera Rusricana, Tulsa Opera; Fal slaJf, Greensboro Opera , Bastille, Paris; Kiss Me Kill e, ArtPark La Bohellle, Hawaii Opera Theatre

Bass (Canada) MOT Credits MOT Credits Baro n Von Rothbart, Swan Lahe 1995 Colline, La Boh eme 1993 Frie nd of Prince, Cinderella 1994 So lo Dancer, Samson and Delilah 1992 MOT 1996 Spring Season So lo Dancer, Ki ng Roger 1992 Doctor Grenvil, La Traviata 1996 Spring Season First Nazarene, Sa lome Tybal t, Romeo and }ttliet The Ring Cycle, Seanie Opera; Tosca, La Forzil del Desfino, Tire Barber oj Seville, Lyric Opera or Chicago; AbduCfioll Principal Dance r: Moscow Detskiy Opera and Ba ll et Thea ter; Jrom fhe Seraglio, Mani toba Opera; Barber oj SCI'ille, Alberl Campania Nacional de Danza; Ball et EI Paso; Del la Festival Herrillg, We rfhCl; Romeo ef Ju/i eHe, The Marriage oj Figil/'O, Balle t; Ba ll et South. Guest artist: Campania de Ballet de Ca nadian Opera Company; The Magic Flule, I Puritani, Que retaro; Ba llet Sa n Jacin to. Repertio re includes Tile Carmfll, Va ncouver Opera; Das R/leillgold, Arizona Opera NlltudClle,., 511'(111 La/le , The Sleepi llg Beauty, 0011 Quixote, Giselle , Romeo ",ulju/ief

Lighting Designer (Californ ia) MOT Debut Director/C horeographer, Swan Lalle 1995, Cindmlla 1994, Th e Sleeping Beat/ty 1993; Choreographer, Aida ROMEO 1996 Spring Season 1993, Sa lll son et Dalila 1992, King Roge r 1992, Di e Lighting Designer, ROl11eo al1dJuliet Flederlllaus 1975, La Traviata 1974, Rigo letto 1973 Mmlinyas, Timillg Game, Lalllbareua, Dance House, & Quartett e, San Francisco Ballet; Signs alld WOlfders, 1996 Spring Season Dance Theatre or Harl em; Ghosts, Allegri Di versi , Director/C horeographer, R.ol11 eo and Juli et Boston Ballet; Gumbo Ya- Ya , Kennedy Center Ballet Co mmission, SFB; Hunters ,1100 11 , Pittsburgh Ballet Choreographer or The Nuleracller ror the Detroit Symphony JULIET Thea tre; Alberl HClTing, Angeliq ue, Marriage by Lanl ern Orches tra since 1974; Curre nt Ballet Master ancl Resid ent lighl, Boston Co nservatory Opera Choreographer al Dance Detroit, Lascu School or Ball et an cl Marygrove Co ll ege; Pricipal Dancer, Ballet Master ancl Choreograph er or Ihe Romanian National Ense mbl es

PIPER Tenor (Costa Ri ca) MOT Credits Spoletta, To sca 1995 1996 Spring Season Gom, Madame Butterfly 1994 Vio letta Va lery, La Traviata La Tra viata, Staastoper Hamburg, Teatro Regia cli Tori no, 1996 Spring Season Vienna Staastoper, Arena cli Verona, Versa illes (Festival) ; Gastone, La Traviata Aida, Arena di Verona, Japan; I Medici, Frankfurt; Silllon Orella, Regi na , Opera Pacifi c; Mi chiga n Opera iloc((l neg m, I Medici, Eflnione, II Trovatore, recordings; Theatre/Opera Pacific Young Art ists Apprentice 1994- Lucio eli Lwnlll ernlOol; San Remo ; La Bolt elll e, Teatro 95; Mozart's Requielll , Handel 's Messiah , Rackham Regia di Torin o; Carlllen, Arena di Verona Society; Part's Te DeulII, Detroit's Orat ori o Society; Copyright 2010, Michigan Opera Theatre Di e ZaubCljlole, FalstaJf, Sil inl oj Bleecher Sireer, Vanessa , Messe d-dfll', Gabel, Uni ve rSi ty or Mic hi gan; . West Side SIOIY, Ann Arbor Civic Theater KARL SCHMIDT Bass (Michigan) Tenor (Michigan) MOT Debut MOT Credits MOT Community Programs performer since 1996 Spring Season 1986; Bogdonovitch , Th e Merry Widow Sergeant, La Boheme 1993; Dr. Blind, Die Fl edennaus 1988; Servant, La Traviata Businessman, Kismet 1988; Minos, Orpheus in the Underworld 1986 Cappadocian, Salome 1996 Spring Season Instructor of voice and piano, Michigan Christian Co llege; Fourth Jew/Slave Salo me Handel's Mess iah, Rochester Symphony Orches tra Soloist, Rochester Symphony, Jackson Symphony, Ann Arbor Symphon y, Birmingham Bloomfield Symphony; Showboal '79, Opryland; Th e Student Prince, Toledo Opera Association; Starli ng Here, Starling Now , Attic Theatre; Amahl and the Night Visilers, Opera Lite Co.

ANTHONY POKORSKI GEORGE SHIRLEY Baritone (Michigan) Tenor (Indiana) MOT Credits MOT Credits Jailer, Tasca 1995 Edrisi, King Roger 1992 Chorus member since 1993 Alfred, Die Fledermaus 1980 1996 Spring Season 1996 Spring Season Parpignol, La Boheme Herod, Salome Second Jew, Salome Metropolitan Opera fo r 11 seaso ns; Orph eus in the stagecrafters, Oklahoma; Cargill Productions, Red Underworld, Das Rheingold, Deutsche Oper Berlin; Covent Stocking Revi ew ; Redford Theatre 1993 & 1995, Vaudeville ; Garden; Teatro Colon; Netherlands Opera; New York City Th e Night of January 16th ; Th e Bells are Ringing; Th e Music Opera; TIle Tza rs Bride, The Washington Opera; King Man; Hell o Dolly!; Once Upon a Mattress ; Chess Roger, Greater Buffalo Opera; Los Almos, the Aspen Music Festival; Salome, Greater Buffalo Opera; Professor of Music at the University of Michigan

ELtEN RABINER Contralto (New Yo rk) MOT Debut MOT Credits Masetto/Commendatore, Don Giovanni 1996 Spring Season 1990 Page, Salome Elelam, Lady Macbeth of Mts ellSII , Metropolitan Opera; 1996 Spring Season Madallla Butle/jly, Th e Magic flute, Prince Igor, New Colline, La Boheme York Ci ty Opera; TIl e Barber of Seville, Rappaccinis Daughter, San Diego Opera; Vivaldi's Gloria, Carnegie Don Giova nn i, La Boheme, Turandot, Simon Boccanegra , Le Hall; Handel's Messiah, Pacific Symphony Nozze di figaro, Idomell eo, La fallciulla del West, TiJe Gll osts of Versailles, 0 0 11 Carios, Madama ButtC/jly, Tosca , Metropolitan Opera; Lucia di Lammenlloor, New York City Opera; Attila, staatsthea ter Stuttgart

DONATO RENZETTI HARRY SILVERSTEIN Conductor (Italy) Director (West Virginia) MOT Debut MOT Credits Director, Tosca 1995 1996 Spring Season Conductor, La Traviata 1996 Season Music Director of the Mace rata Opera; Principal Director, La Traviata Conductor of the Orchestra Stabile di Bergamo; previous Akllnaten, English National Opera, New Yo rk City Opera; Pri ncipal Co nductor of the Arena di Verona; LQjJoheme, La Bolleme, AlltollYalld Cleopatra, La Nozze di figaro , Metropo litan Opera; La Donna Del Lago, Carnegie Hall; Tasca, iJlalialla ill Algeri, Ull Ballo ill Mascllera , Merry Emani, Otello, Lyric Opera of Chicago; Rigoletto , Dallas Widow , Lyric Opera of Chicago; Th e Makillg of the Opera ; rItaliana in Algeri , the San Francisco Opera Representative for Planet Eigllt, Alllla Bolella, Ariadlle auf Naxos, Don Giovanni, Faust, Houston Grand Opera; Satyagralla, San Francisco Opera

Lighting Designer (Ohio) MOT Credits Lighting Designer, Carmen 1989, La 1996 Spring Season Boheme 1988, Man oiLa Mancha 1987; Third Jew, Salome Resident Lighting Assistant, 1986-87 La Bolleme, La Tra viata , Brookside Pocket Opera; Nab ucco, 1996 Spring Season I Lombardi, New Jersey State Opera; Til e Magic flut e, Lighting Design Adapatation, Salome Trenton Civic Opera; Amalll and tile Nigllt Visitors, Th e Tales of Hoffmall, Rigoletto, New Jersey Opera Intstitute Design credits include Peer Gynt, The Los Angeles Philharmon ic; Wooman Lovely Wooman, for Miriam Margoyles, Hollywood; Urban Bush Woman, New York; assistant credits include Leader of Copyright 2010, Michigan Opera Theatre the Padl, Broadway; Confessions of a Nightingale, Spoils of WQI; Einstein on Ihe Beach, Off Broadway; Lighting Associale for Los Angeles Music Center Opera, 1988-95 Lighting Designer (Michigan) Tenor (France) MOT Credits MOT Debut Lighting Consultant since 1989 1996 Spring Season MOT 1996 Spring Season Alfredo Germont, La Traviata Lighting Designer, La Boheme The Daughter of the Regiment, The Metropolitan Opera; Tosca, Merry Widow, /I Trovatore, My Fair Lady, Opera Pacific; Djamileh, American Symphony Orchestra; Berlioz Madama BUlle'J!y, Candide, Dayton Opera; Jesus Christ Requiem, Marseille, Montpellier Festival, Edinburgh Superstar, Malibu American Stage Festival; Tosca , Madame Festival; Lucia di Lammermoor, Marseille; Mireille, Opera BUllerjly, The Daughter of the Regiment, Ariadne auf Naxos, Comique de Paris; The Barber of Seville, Don Pasquale, La Candide, The Mikado, MOT; A Penny for a Song, Pioneer Boheme, The Love of Three Oranges, Opera de Lyon Theatre; Teibele and Her Demon, Attic Theatre

Director (England) Tenor (Florida) MOT Credits - MOT Debut Director, Turandot 1993, Ariadne auf Naxos 1991, Carmen 1989, La Bo heme 1988 1996 Spring Season Assistant to the General Director, 1971-75 Narraboth, Salome Winner of 1995 Metropolitan Opera National Council 1996 Spring Season Auditions; Winner of 1995 ARIA Award; Th e Immortal Director, La Boheme Hour, Werther, The Rape of Lucretia, Juilliard Opera Director of Production for the Washington Opera since 1982; Center; Me Teague, New York Festival of Song; Awarded Premia Affiati (Affiati Prize) for the Rahis Progress , 1993 Beethovens Ninth Symph ony, Bowdoin Music Festival, Spoleto Festival, Ita ly; Assistant to Gian Carlo Menott, Spoletto Erie Philharmonic; Verdi's Requiem, Chautaugua Festival, Italy, 1979-Present;La Boheme, The Washington Opera, Festival; Bernsteins Vayamer flohim, Alice Tully Hall Philadelphia Opera, Opera Genoa, Modena, Beijing, Opera PaciOc; Cosifantulle, The Washington Opera; Semele , Christopher Columbus, -The Washington Opera; The Merry Widow ; Dayton Opera

SWEET L~I\\NES We commend the Michigan Opera Theatre for its steadfast commitment-to excellence in the performing arts.

Voted by 1.200 diners: one of Mlchlgan'5 Top Ten Favorite Resataurants! --1996 Zagat Guide

Southfield 810.559.5985 KELLY ANNIVERSARY III 9 .. 6 - I 996 SERVICES Ann Arbor An Equal Opportunity Employer "'996 KeUy SeMees, Inc. 313.665.0700 Copyright 2010, Michigan Opera Theatre Many people and their famiTies are comforted by. th? knowledge that prep..aan1 . 'tlt.l ·ons. to.r intermen.. . t . . Wftite.9 hapel have b de in advance. ,<'Sflould you wish to make . ·.suCh pltins, a com~etent ...White Chapel sta . member wrll be p eased to. assist you . . Pleaseca1l362~7670.

C. Howard Crane was born in Hartford, Connecticut in 1885. The son of a butcher, he turned to the field of architecture at an early age, and at seventeen, he obtained work as a draftsman in downtown Hartford. By the end of 1904, the nineteen year old Crane moved to Detroit, relying on self-taught experience to further a career in architecture. According to his granddaughter Kitty Gushee, Crane was lured to Detroit as the rapidly growing city acted as a "magnet" for her grandfather's energetic ambitions. In the following years, Crane worked in several prominent architectural offices, absorbing the influence of the best Detroit architects of the day. In 1904, Crane, after lying about his age, was hired by Albert Kahn where he stayed for one year. By 1905, he was hired as chief draftsman at Smith, Hinchman and Grylls (then known as Field, Hinchman and Smith) . In 1907 he moved to the office of Gustave A. Mueller and by 1909 opened his own practice. Once independently established, Crane immediately started receiving commissions for theaters known as nickelodeons (stores converted to movie viewing venues with an admission price of 5 cents) . First among them was the Majestic Theatre, a small nickelodeon, which Crane deSigned within a building constructed in 1883, at 1449 Woodward Avenue. While he also was commissioned to design offices, residences and store fronts, soon Crane became known for his specialization in theater design. C. Howard Crane's early concentration in theater design was as incidental as the fast progression of the movie industry itself. Indeed, Crane's designs for theaters developed in size and elaborateness as the motion picture industry itself grew. Out of nickelodeons came vaudeville houses, and the Columbia Theatre on Monroe Street, built in 1911, was Crane's first. According to theater historian Andrew Craid Morricon, it seated 1006 patrons and was Detroit's first large moving picture and vaudeville theater, accommodating a full orchestra to accompany the picture and the first to contain a theater pipe organ. Crane deSigned The Columbia, as well as several nickelodeons for John H. Kunsky who soon rose to become the city's premier theater owner and movie exhibitor. On the road to success he took C. Howard Crane, who would design the majority of Kun~'s extravagant motion picture and vaudeville houses. Within the next 10 years , Crane deSigned theaters anywhere in size from 530 to 1500 seats and spread his clientele to several other cities in the Great Lakes region. In Detroit, his commissions continued for Kunsky and many other exhibitors. They included the 1914-built Regent and Palace Theatres , both inspired by a mixture of eighteenth century Neoclassicism and the 1915 Majestic Theatre (today housing the Majestic Cafe), built on Woodward Avenue. By 1919, Crane was given his first commission to design a legitimate theater, in this case a concert hall for the Detroit Symphony Orchestra. Today, the restored Orchestra hall remains the Detroit Symphony Orchestra ~_ permanent home. Soon after its completion, he was commissioned to design the Music Box Theatre at 45th and Broadway in New York City and the Harris and Selwyn Theatres in Chicago, all for theater producer Sam H. Harris and in New York Harris' partner Irving Berlin. These commssions brought Crane national recognition, but during the same time he remained busy designing motion picture houses of grand scale for his home town of Detroit. In Detroit, Crane's most faithful and ardent client continued to be John Kunsky, who from the early nickelodeon days on Monroe street determined Crane would be his principal architect. By 1920, Kunsky already was monopolozing the business of film exhibition in Detroit, and close at his side was C. Howard Crane, helping to build his large collection of resplendent theaters. . Grand Circus Park, a semicircular area divided by Woodward Avenue , and from which several other main streets radiate, became the city's fashionable shopping district after the turn of the century. It was the logical area for John Kunsky to build and eventually was nick-named "Kunsky Circle" as it became surrounded by his great showplaces. The first of Kunsky's Grand Circus Park theaters designed by Crane were the Adams and the Madison, both built in 1917. With a seating capacity of 1806, the Madison had an Copyright 2010, Michigan- 52 Opera - Theatre auditorium that looked similar to Orchestra Hall. With this theater, Crane's grand style of movie palaces "had almost arrived." It was the Capitol Theatre, however, that truly allowed Crane to make his mark as one of the nation's great movie palace architects. When the Capitol Theatre opened on]anuary 12, 1922, it was the largest of Crane's Detroit theaters at that time, seating 4,250 people. Situated between Broadway and Madison Avenue, the Broadway side was the facade which was characterized by three classically treated divisions with1engaged Corinthian columns. Retail spaces occupied the central, largest bay and the west bay had an entrance into a small lobby containing elevators to the upper story offices. One entered the theater at the facade's east bay, which was designated by the Capitol marquee. Upon entering the theater, the patron first found himself in a small outer lobby containing the ticket booths. Featured was a vaulted ceiling with back-lighted stained glass panels, but the most impressive architectural treatment of this space was a groin vaulted and marble columned entry leading to a set of stairs to the second mezzanine and then to the balcony: Those patrons with tickets for the main floor of the mezzanine tier boxes had the added privilege of walking through the lobby into a three story foyer containing a grand staircase and two mezzanine bridges, all of which were highlighted by balustrades of wrought iron, painted gold with alternating coral and turquoise ellipses. The foyer curved around the rear of the auditorium and the back wall featured three archways rising the full three stories. These were framed by engaged Corinthian columns, ornate plaster work accented in gold, turquoise and coral, and painted panels containing repeating motifs of cupids, garlands, birds and cameos. In the Capitol, Crane successfully created lobby spaces to beguile the patron to the point of fantasy, even before he entered the auditorium. In contrast to his previous theaters for motion pictures, such as the Majestic, seating 1,651 people and deSigned according to a "bleacher" type plan, the tbeaters Crane deSigned around Grand Circus Park adapted a new sense of special grandeur. All were deSigned upon variations of the traditional legitimate theater plan, which incorporates multiple levels. While this change was not neces?ary for theaters such as the Adams, which with 1,770 seats was not much larger than the Majestic, and the Madison, the change was appropriate for ~ theater as large as the Capitol. To accommodate 3,367 people, Crane included two mezzanine levels and a bal,cony: The first mezzanine, he explained, was treated" ... as a tier of special boxes, obtaining a more exclusive and private seating section, which is very desirable." These boxes continue under the balcony for the whole width of the house. While Crane did incorporate detached boxes in most of his other deSigns, he came to prefer the horseshoe-shaped mezzanine of individually articulated boxes under the balcony and sweeping around the perimeter of the hall. Previous to the Capitol, Crane had created this same arrangement of box seating for the 2,000 seat Orchestra hall, built in 1919. In that case, six additional projecting mezzanine boxes continued around to each of the side walls of the auditorium, stepping downward toward the proscenium. In the Capitol, the mezzanine level of boxes ended at the side walls , allowing space for a large archway, containing the organ grilles above ground level exit doors. While Crane noted the desirability of the special seating offered to those in the mezzanine boxes, he did not want to neglect patrons in the balcony: In order for them to feel intimately a part of the auditorium, the exteIitlOn of the front of the theater toward the balcony was incorporated. Additionally, Crane developed aesthetically pleasing approaches to the balcony, so as to keep the patron from feeling that he would be separated from or inferior to the rest of the audience, as had been the case in nineteenth century theaters. Crane stated, "One very interesting point developed in this theater is the run of the stairways. Those, for instance, at the second mezzanine level are designed with elliptical terminals, lobbies and other interesting points which give the impression that the uppermost seats in the balcony are in no way diffucult to reach. " The Capitol Theatre exhibits amixture of classical elements drawn from various sources. For the auditorium ceiling, Crane chose a system of unorthodox coffering, which formed unusual geometric patterns that were arranged within the ceiling's vaulted curves and incorporated octagonal lighting coves. The high vaulting of the ceiling, made entirely of plaster, was purely a decorative effect and not structural in any way: The process of suspending the plaster ceiling was an art in itself, which required metal lath to be hung with suspension rods from the roof trusses and then the final application of plaster over the metal lath. In the end, not only was an awe inspiring ceiling achieved, but plenty of convenient attic space was left between the ceiling and the roof. The Capitol Theatre in Detroit was truly a turning point in Crane's career. In 1923 it was the largest theater he had planned to date, and in architectural design , it foreshadowed the shape and appearance of Crane's future movie palaces, the State Theatre (1925) and the Fox Theatre (1928), both restored and well known to Detroiters today. But for the three years previous to the construction of the State Theatre, the Capitol Theatre remained the most prominent movie house in the Kunsky chain and in all of Downtown Detroit. With its current restoration and reopening as the Detroit Opera House, it has regained its former glory and will remain one of the city's greatest attractions. Copyright 2010, Michigan Opera Theatre - 53 - J Detroit Opera House Gives Special Tha:nl

~~JAFFE HOLDEN SCARBROUGH AC O US TI CS IN C~~

~~IEI EDGEWOOD ELECTRIC, INC. ELECTRICAL CONTRACTOR~~

~~SE!l::ca®~~

~~s.A.Comunale Co., Inc. FIRE PROTECTION CONTRACTORS Design· In stallation - Maintenance. Inspection. Repair~~

~~:•...... : • • • • • • • • • • • • ••••••••••••••• •~~

~~THE GRUNWELL-CASHERO CO .. INC. SEEBOHM, LTD. Building Restoration Contractors Architectural Conservation Since 1953~~

~~10WN-4 AP~TMENTS • if' SUITES Downtown Apartment Living With All The Comforts Of Home ~ .\:t ~ " . ~ "'. . ~ t~ . 'II~~

Choose from unfurnished studio and one-bedroom high-rise apartments or fully 14 MILE JUST OFF 1-75 • UNDER THE AIR CONDITIONED BIG TOP TENT • FREE PARKING furnished apartment suites JAZZMATAZZI A sophisticated circus salute to the Golden Age of Hollywood, for short-term stays - the Big Band Era, and the Jazz Age. Either way, you'll be impressed Tickets from $10 to $25 (plus service charge) on sale May 1 at all TiEi

~~Pianowor/cs offers the most noteworthy instruments in the world s T E w T s JR ••un & lInnrlin ;,iiiKiL4iJtl:iih:. A Detroit Origina 1M BEILER PETROF GROTRlAN Sofune~~~

~~\ DEALER FOR SUTHERLAND HARPSICHOADS~~

CONSULTATION • SALES SERVICE • CONCERT RENTALS *Late Night Dining & Live Jazz Friday and Saturday* "Featuring FRESH FISH prepared with a bombastic Stewart's edge, 23225 Woodward Ave. innovative, indigenous, and healthy." Ferndale • (810) 541-6334 4265 Woodward at Canfield, Detroit (313)832-3200

Seated on a folding chair in his parent's Model T, Robert VanderKloot got his first glimpse of the Capitol Theatre in 1922. Awestruck by the theater's immensity, VanderKloot remembers soprano Estelle Carey's opening songs but not the "throbbing' love tale ," Th e Lotus Eater. Retired Army coloneljohn Batchelder, then seven, doesn't remember the movie either, just the 3,000 piece crystal chandelier.

Fifty years later in the late 1970s, VanderKloot was awestruck again when he took his son-in-law, Michigan Opera Theatre's general director Dr. David DiChiera , to the theater. Their dream, for MOT to own a house, comes from motion picture maghetjohn Kunsky's vision when he built the palatial movie palace "to present my own home city with a palace of amusement of which it could be justly proud. " (Detroit News, jan. 8, 1922)

Then, people scoffed at Kunsky's manager George Trendle as being "in need of having someone look after him" for building a theater "up there on Grand Circus Park. " Hardly crazy, Kunsky planned to compete with Detroit's 150 movie palaces by marketing his "Show Palace of Michigan" with his own scheme of "product differentiation." An independent without access to the top movies, he showed adventure films and featured live stage shows.

"It was the best theater," said Art Clay of Dearborn. "If you had a dime you went to the Rex, if you had a quarter you went to the Lincoln Square, but if you had 75 cents you could go to the Capitol. They had a big stage there. "

Whether Carey was a hot talent by MOT standards when she opened january 12, 1922 to 4500 people (including Mayor james Couzens) on that "big" stage, she, the Capitol Quartette, the Capitol Girls, the Capitol Wonder Orchestra, and the local talent stole the show until the Michigan Theatre opened in 1926.

Screen stars like George Beban 0-22-22), Irene Castle (2-26-22) , Fatty Arbuckle (8-5-23) , louise lovely (6-15-24) "interpolated" scenes from their films. Other entertainers were Paul Whiteman, louis Armstrong, Guy lombardo, W C. Fields, Duke Ellington, Victor Herbert and Will Rogers .

Under Viennese violinist, Eduard Werner, the 40 piece house orchestra played "Sunday Noonday" concerts featuring pieces like Molly on the Shore, My Mammy Knows and Tchaikovsky's "AdagiO lamentoso" from Tchaikovsky's Symphony Pathetique.

Deluxe houses like the Capitol got orchestra scores with each silent film for the house orchestra. For the films , usually the orchestra would begin the program by accompanying the show. The organist would join in and the orchestra would then break, leaving the organist playing solo . Interestingly, the first organist Donald Miller had charge of the organ couplers requiring second organist lou Betterly to hand change his stops while performing these solos.

Copyright 2010, Michigan Opera Theatre ~ 57 ~ In 1925, a Wurlitzer 4/20 , the first Publix-Iorgan in the country replaced the Hillgreen Lane organ. One of only a few Wurlitzers to be tonally adjusted to a theater, the hall's perfectly placed pipe chambers and superb acoustics made the sound fabulous and the organ the favorite organ in Detroit. (It is now in California's Oakland Paramount Theater.)

That year, Kunsky became part of the Publix Theatre chain and began booking vaudeville (Publix Unit Shows) into the Capitol, shows like Revue Exotique, Neapolitan Nights, and Bag 0' Tricks . The performances were an eclectic mix of anomalies such as hoofers, trapeze specialists, French Canadian poetry, Spanish dancers, vacuum cleaners that wheezed pop tunes, and "marvelous" news reels , like the eruption of Mt. Etna. Tenor saxophonist Del Delbridge, from Palmer Park, was master of the popular ceremonies.

Union president Werner had "ghost" clauses written into contracts, requiring theaters to pay orchestra rates if they hired the organist. By 1929, those clauses and the stock market crash took care of the orchestra and the "talkies" took care of the organists. Betterly sold shoes, Miller went to Dearborn Inn, and Werner entered the Detroit College of Law. In the windfall, Kunsky sold his 22 theater interest to Publix for $4.5 million, a nice return on his Capitol.

Publix changed the name to Paramount advertising shows like "Hear Him Talk " Buddy Rogers in Varsity with an extra Vitaphone Talking Playlet, but times were hard. George Trendle took over in 1934, changing the name to the Broadway Capitol and reopening with Marlene Dietrich in The Scarlet Empress. United Detroit Theaters assumed management.

Opera also played a role in the early history of the theater when the San Carlo Opera Company under Fortune Gallo brought two ,weeks of opera beginning in 1933 and appeared there intermittantly over the next decade. The performance of Faust in the 33 seasons featured the sensational debut of the young Detroit soprano Emma Lazaroff Schaver who would go on to have an impressive career in music performing in concerts throughout the world.

World War II brought thousands of people downtown to work three factory shifts. Located near the Grand Circus Park "east meets west" streetcar intersection, the "all night" Broadway Capitol pulled crowds of 5 to 15,000 daily, remembers George McCann, Chief of Service at the Michigan Theatre.

ran of battles such as the "Battle of Iwo-Jima ." Weekend stage shows, hardly the glitzy affairs of the 20s, were often replaced by shorts and trailers. "Day and Date" marketing booked films with the Riviera and Cinderella.

~~KunskJ-Purchased WXYZ when he sold the Capitol. In the (. 1940s, with Dick Osgood as master of ceremonies, the station 1 broadcast weekly shows "Radio Schoolhouse of the Air" from the theater.~~

Undermarketed or overlooked, The Broadway Capitol never achieved the stature of the Fox or the Michigan theaters where the splashy premieres and the hit films were shown. The Broadway Capitol got the "B" raters. .,

"By the time I saw the theater, they were down to "Z" rated films ," said Richard Clay about the re-runs, second runs, and double features interspersed with occasional stars like Gale Storm and Sal Mineo.

Midnight "shriek" previews of monster films like Revenge of the Creature and Cult of the Cobra were shown in 3-D in 1955. Daring patrons were photographed with the "creature" in the lobby. Green gelatin covered the exits for effect, but it only gave a \ brighter green light to audiences' suburban flight.

Copyright 2010, Michigan Opera Theatre - 58 - Under Richard Sklucki's management, $100,000 was spent to . update this "old lady" with a face lift in the form of a V-type marquee and name change to Grand Circus Theater. December 23, 1960, it reopened with The World of Suzi Wong, attempting to compete with the shoebox cineplexes.

The shoe did not fit the old lady of the silver screen, and the "terror treats" (I'll Drink Your Blood And Eat Your Skin, Corpse . Grinder, Empire of the Ants, Kung-Fu "knock outs") were as out of place as the concession stands in the marbled lobbies, concessions that failed to solve the theater's identity crisis. Premieres like Petey Wheatstraw and Isaac Hayes' Black Moses of Soul brought limited patronage.

At Last At Last, A Naked Rider, and Jailbait Babysitter became the last picture show October 28, 1978. That day, manager Lovell Pertner looked sadly at 30 customers in the 3200-seat theater. O. B. O'Bryan, manager in the 40s and 50s, remorsed, ''That old house has had some pretty glorious moments." This was not one of them.

Headlines read "Grand old theater takes last bow," but the show was not over. Gerald Tobin bought the "grand ole opulent theater" for an alternative rock series "Grand Circus Live. " Aran4 CircuS 'ar~ Amy Yokin, now group sales director at the Fisher TheatrelMasonic Temple, was the box I'wa, at U ",HleH S,."NDS".s CE of ~.Il"r E office manager, considering herself Detroit's queen of punk rock , presiding over ticket sales HIP...... ONE of TH • to mainstream headliners like Ray Charles and Roy Orbison and punk alternatives. 'I'\.. tres \n Amenta Beatlemania, Plasmatics, R.E.M. , English Beat, and future "celebs" Cindi Lauper, U2, and ~gest lDel Ne B-52s on their first national tours. CONY' .4.N. TS Again the balcony swayed, rattled and rolled like it did for the mighty Wurlitzer. "This 4-250 SEA place is made for rock and roll" light headed fans exclaimed about the architecturally CAPITOL WoNDER suspended balcony. Grace Jones becamethe final act, and nearly "Grace under fire " THE ORcHESTRA when a small blaze closed the theater in November 1985 . .ua& - 40 40 -~c,"'''5 When it opened in 1922, the Capitol was America's fifth largest movie palace. After -"'~VEL,£y BILL decades of bad films on subjects that make good opera, the Capitol reopens as the THE BIGGES~N ~ D£-rRorr TKU.-rRf. Detroit Opera House with a newly constructed stagehouse that ranks it with the top £V£llp~~ tY CA!ltOL five or six opera houses nationally. The Capitol's restoration to its original splendor ~ fA 1G H :.s vastness. returns this entertainment palace to a four star rating. TH [. . p\endor• u. { with Its s . ncence 0 W;\l thrill yOU nd the magnl . its beaUty a rchltdWre The vision is revitalized. The dream is realized. ItS a u a' the f ondeat nOpe • It~ceeda __ - h Gloriea a"d You ""oUl I. • hi v Capitol Wh." h. trf III ., ~ Deli,hI' of 1 d to Se CI Det Mary Jane Doerr is an area Jreelance writer, speCializing in musical theatre and opera. you'll Feel Prall _ Michael Haus er, oj Preservation Wayne, proVided the research Jor this articl e. - N A.T 7:00 DOORS OP~.oo A 9,00 JI 1 SHOW>-· . ..-.. JS"" . ~.".;~~ .~-

~~The demonstration of one's artistic or creative abi lities . Expression is communication.~~

~~It's one or more individuals, conveying a message through gestures, sounds, images or words.~~

~~At NBD, we appreciate those with the talent and desire to move us all. Congratulations to all those~~

~~who made th is event a success. We're happy to have played our part. Ii) The right bank can make a difference7 Member FDIC Technological Craftsmanship~~

29880 Groesbeck Hwy., Roseville, Michigan 48066 (313) 778-3570 FAX: (313) 778-3931 Copyright 2010, Michigan Opera Theatre ~"!.f..;J~~.~"--~\\'''~" ...... 111'3" - ~ .,- -'W:-;r , BIG BANK "r . .~ STATEMENT SHOCK!

If you're being ~ i~~i: bowled over by your J bank's monthly ? HEATRE 4l service charges and ( l I Welcome to the J hidden costs, check \.\ \ ). -t out Franklin Bank. -'~ w neighborhood. ..x Large or small, all our business customers are We've been here for 81 years ~ treated to special services and know you will be too! without special fees. We J offer courier service, free ,;- ATM machines and special lock !Best wishes from box service and substantial '? -n savings over big I 'I1w m£mb,rs and offom of the 1 impersonal banks. Make the switch to Franklin Bank. We're making a \. DETROIT 6 statement that will keep ., ATHLETIC CLUB ~ you on your feet. -, J ~~... ~ A Franklin Bank ~ . -~ ~~. 'i ~~- .. -.'..... V ' (810) 358-5170 Southfield' Birmingham ' Grosse Pointe Wood s "Yf.~.'~~""~"~« ,.. -; . THE NEW THINKING IN BANKING FOR BUSINESS '...... r. FDIC Insured

~~Experience the Elegant Lifestyle of an Auto Baron~~

~~EDSEL & ELEANOR - FORD HOUSE III Williams International Grosse Pointe Shores, Michigan English Cotswold-Style Architectu re 87 Acres of Landscaped Gardens and Grounds~~

~~East Asian Art Exhibition April 17 - June 9, 1996~~

SIGNAL BENEFACTORS Durr Industries, Inc. Aldoa Company $50,000 AND ABOVE Ernst and Young Alexander & Alexander of Michigan, Inc. Freehan-Bocci & Company Alvan Motor Freight, Inc. Ford Motor Company GKN Automotive Inc. American Glass & Metals General Motors Corporation Gencorp Automotive Automotive Industrial Sales Inc. Goodyear Tire & Rubber Co. Avis Ford, Inc. MAJOR BENEFACTORS J. C. Penney Company, Inc. B & W Cartage Company $25,000-$49,999 J. S. Alberici Construction Barris, Sott, Denn & Driker Johnson Controls, Inc. BEl Associates Ameritech KaLitta Flying Service Bierlein Companies Hudson's Department Stores Kelly Services Inc. Breed Technologies, Inc. Kerry Steel BridgestonelFirestone Trust Fund BENEFACTORS Lobdell-Emery Manufacturing Co. Broad, Vogt & Conant, Inc. $15,000-$24,999 Morris Associates, Inc. CBS Television Network Cadillac Motor Car DivisionJGM Ogilvy & Mather CUNA Mutual Insurance Comerica Ontario Die Company of America Carhartt, Inc. Detroit Edison Foundation Penske Corporation Chamberlain Realtors Mithigan National Corp. Petoskey Plastics Inc. Coltec Industries 'NBD Bank Royal Maccabees Life Insurance Co. Crum & Forster Scott Shuptrine Furniture Dearborn Federal Savings Bank Standard Federal Bank Detroit Free Press FELLOWS 1. K. Lowry Sales, Inc. Detroit Heading Co. Inc. $10,000-$14,999 Takata, Inc. Detroit International Bridge Company ANR Pipeline Co. Textron Inc. DiClemente Engineering, Inc. AlliedSignal Foundation, Inc. Transportation Services Inc. Dinverno, Inc. ~hrysler Corporation Yarema Die & Engineering Duane Smelser Roofing Company Douglas & Lomason Company and Divisions Emery Worldwide Lear Seating Corporation CONTRIBUTORS Failure Analysis Associates Saks Fifth Avenue $500-$999 Flavin Associates, Inc. Giffels Associates, Inc. American Axle & Manufacturing, Inc Grunwell-Cashero Company Inc. SUSTAINERS Arvin North American Automotive $5,000-$9,999 Hall Engineering Co. Barton-Malow Company Health Enrichment Center, Inc. Blue Cross-Blue Shield of Michigan Borse Industries, Inc. Hogan Transports, Inc. Harmony House Records & Tapes CSX Transportation Hoover & Wells, Inc. Mid South Electrical Contractors Ltd. Compuware Corp. Hovinga Business Systems Inc. PVS Chemicals Inc. Continental Structural Plastics IATSE Local No. 38 United Technologies Automotive Group CoreSource, Inc., John E. Green Co . Delta Dental Fund Kelvyn Ventour Promotions Inc. George Williams Interiors, Ltd. PATRONS Key Plastics, Inc. Giddings and Lewis, Inc. Kirk & McCargo , $2,500-$4,999 lTW Deltar Pc. Limbach Company AAA Michigan Kawasaki Robotics (USA), Inc. Lou LaRiche Chevrolet Geo Alcoa Foundation Libralter Plastics, Inc. Ludington News Company Inc. Deloitte & Touche - Lintas: Campbell-Ewald Maddin, Hauser, Wartell, Roth eta!' Dickinson Wright Moon VanDusen NGK - Locke, Incorporated & Freeman PPG Industries Foundation Mattar Financial Corp. First of America Bank Quik X Transportation Inc. Meijer Inc. Masco Tech, Inc. Robert Bosch Corporation Minkin-Chandler Corporation Michigan Consolidated Gas Company Shell Oil Company Foundation Inc. Motor City Electric Siegel-Robert Inc. NTH Consultants, Ltd. The Budd Company Nippondenso Sales Inc. DONORS Perini Building Company $1,000-$2,499 The Standard Products Co. Tuesday Musicale of Detroit Perry Drug Stores, Inc. American Components, Inc. Versacom, Inc. Price Waterhouse BASF Corp. Zenith Industrial Corp. RTS Transportation Systems, Inc. Batten, Barton, Durstine & Osborn Schreiber Corporation Boarder to Boarder Trucking, Inc. SUPPORTERS The Detroit News/Gannett Foundation Bozell Worldwide, Inc. (Detroit North) The FD. Stella Products Company CNlinc. $100-$499 The Stroh Brewery Company Crate & Fly A. J. Etkin Construction Co. Visual Services Inc. D & S Benore Trucking, Inc. Acordia of Michigan, Inc. Willis Corroon Corporation of Michigan D'Arcy, Masius, Benton & Bowles CopyrightAirtec 2010, Corporation Michigan Opera Theatre Wineman Investment Company Dow Chemical Company Albert Kahn Assoc ., Inc. CoNTRI8UTORS

~~----~~~.~de~~-----~~

Michigan Opera Theatre gratefully acknowledges its generous corporate, foundation and individual donors whose contributions were made between July 1, 1994 and June 30, 1995. Their generosity plays an integral part in the Company's financial stability, necessary for producing quality grand opera, musical theatre, and classical ballet. In addition to enjoying outstanding entertainment on the stage, MOT contributors are offered a number of opportunities which allow them to observe the many phases of opera production, meet the artists, and experience other "behind the scenes" activities. For more information on becoming involved in these exclusive and exciting donor benefits and services, contact our offices at (313)874-7850.

IMPRESARIO CIRCLE Mr. & Mrs. Harvey Kline Ms. Mary Ann Hollars The Honorable Barbara Rose Collins $10,000+ Dr. & Mrs. Richard W Kulis Mrs. David Jacknow Mr. & Mrs. Michael]. Connolly Dr. Mary Carol Conroy Mr. & Mrs. Philip E. Benton, Jr. Dr. & Mrs. Robert P. ·~;;~~;;;;~~~~rs. Leonard C. Jaques Mr. & Mrs. ltl ohnston Mr. & Mrs. Peter Cummings Mr. & Mrs. Robert E. Dewar Dr. & s ey Mr. & Mrs. Ronald K. Dalby Mr. & Mrs. Irving Rose Mr. & Mrs. Lawrence N. David Mr. & Mrs. George Strumbos. Mr. & Mrs. Steve Djelebian MAlOR BENEFACTORS Ms. Hilda R. Ettenheimer Mr. & Mrs. Paul E. Ewing $5,000-$9,999 r. & Mrs. Alfred]. Fisher, Jr. Mr. &-Mrs. David Arono fe & Mrs. Charles 1. Fisher, III Dr. & Mrs. Donald C. M. Mrs. Phillip W Fisher Mr. & Mrs.]. Addiso . Mr. ~s. Louis P. Fontana Mr: & Mrs. Mark A Mrs.'! ~ . Frankel Mr. & Mrs. Donal Mr. & . Frank A. Germack,]r. Mr. & Mrs. Lynn Mr. & '. ' eith E. Gifford Mr. & Mrs. R.l Mr. & M \lseph Gualtieri Dr. & Mrs. Sa Mr. & Mrs Kftnneth E. Hart Mr. & Mrs. 'th Honhart The Hon1 & Mrs. os Mr.

· 0 Dr. Mrs. Mr. & Mrs Mr. Ralph Mr. Micha , Morrison Mr. & M . :. Clarence Mularoni Mr. & s . Michael Mutchler Mr. & ' . James Pamel Dr. s. Kenneth E. Pitts Mr rs. Brock E. Plumb M . gr Mrs. David Pollack , . & Mrs. Robert R. Reilly r. & Mrs. Hans Rogind Mr. & Mrs. Norman H. Rosenfeld Mr. Thomas Schellenberg & the Honorable Joan Young JUu"",,,,"-V'u.! Schellenberg Mr. & Mrs. Gregory]. Schwartz Mrs.& CharlesJou"• •"",- "".. ~ii~===~~~~~£ . - andell L.er Berman Mr. & Mrs. Roger F Sherman Mrs. Benson Ford, Jr. r. & Mrs. John G. Bielawski Mr. & Mrs. Norman Sloman Mr. & Mrs. Edward P. Frohlich Dr. Mark 1. Burnstein Mr. & Mrs. Richard D. Starkweather Mrs. Roy Fruehauf The Honorable Dominick R. Mr. & Mrs. Melvin C. Vander Brug Mr. & Mrs. John C. Griffin Carnovale Mr. & Mrs. Gary L. Wasserman Mrs. Alice Berberian Haidostian Dr. & Mrs. Victor]. Cervenak Mr. & Mrs. Lawrence E. Witkowski Mrs. Robert M. Hamady Mr. David Chivas Ms. Elizabeth Work Mr. & Mrs. E.]. Hartmann Ms. Virginia Clementi Mr. & Mrs. Morton Zieve

Copyright 2010,- Michigan63 - Opera Theatre ORCHESTRA CIRCLE Mr. & Mrs. Albert A. Miller Jeff and Cheryl Chapp $500 - $999 Mr. & Mrs. Milton]. Miller Drs. Allen and Inge Chen FOUNDATION Phillip and Cynthia Minch Mrs. Eleanor A. Christie &. GOVERNMENT Dr. & Mrs. William C. Albert Mr. & Mrs. Joel Morris Mr. & Mrs. Robert Closson Dr. Harold Mitchell Arrington Mr. Ronald K. Morrison Mr. & Mrs. James W Collier SUPPORT Dr. Robyn]. Arrington ,Jr. Mrs. Earl A. Mossner Mr. Kenneth Collinson Mrs. Jack Beckwith Mr. & Mrs. William E. Odom Mr. & Mrs. George A. Cooke Mr. John W Belman Ms. Jan H. Ollila Mr. & Mrs. Claude H. Cooper GOVERNMENT Mr. Stanislaw Bialoglowski Ms. Corinne Opiteck Mrs. Ellen R. Cooper Michigan Council for Arts Dr. & Mrs. Eric Billes Dr. & Mrs. Jesus Ortega Dr. Robert A. Cornette and Cultural Affairs Ms. Paul and Lee Blizman Ms. V Beve rl y Payne Dr. Warren W Cowan National Endowment for the Arts Mr. & Mrs. G. Peter Blom Dr. Luba Petrusha Mr. & Mrs. Donald Cutler Mrs. Marguerite Boyle Ms. Irene Piccone Mr. & Mrs. Douglas E. Cutl er Mr. Michael Boyle Dr. & Mrs. Peter]. Polidori Mrs. Zenia S. Danysh SIGNAL BENEFACTORS Dr. & Mrs. Sander]. Breiner Mr. & Mrs. W James Prowse Mr. Samuel L. Davis $50,000 AND ABOVE Dr. & Mrs. Matthew L. Burman Mr. Abraham L. Raimi Mr. & Mrs. William]. Davis Ms. Mary C. Caggegi Mr. & Mrs. John W Reddy Mrs . Adeline]. De Biasi The Skillman Foundation Mr. Joseph L. Cahalan Mr. & Mrs. Henry C. Reimer Mr. & Mrs. Leo nard ]. Dec ker Miss Helen H. Cannon Dr. & Mrs. David B. Rorabacher Mr. Loren A. Deer MAlOR BENEFACTORS Mr. Clifton G. Casey Dr. & Mrs. Alexander Rota Mr. John DiLodovico Mr. & Mrs.]. Thomas Clark Mr. & Mrs. David]. Runyon Dr. & Mrs. Juan C. DiMusto $25,000 - $49,999 Mrs. Mary Rita Cuddohy Mr. & Mrs. Luigi Ruscillo Mr. James P Diamond Hudson-Webber Foundation Mr. & Mrs. George Dambach Mr. Reid Schornack Mr. & Mrs. Harold Doremus Mr. & Mrs. Kei th D. Danielson Mr. William E. Scollard Mr. & Mrs. Frank Dronsejko Mr. & Mrs. Richard DeBear Conrad Soderblom Mr. & Mrs. Andre ]. Dubos BENEFACTORS Mrs. Louise W Deutch Mr. & Mrs. Newton Sobel Dr. & Mrs. Harold Duchan $15,000 - $24,999 Miss Ruth G. Doberenz Mr. & Mrs. Nathan D. Soberman Mr. & Mrs. Peter P Dusina,Jr. Mr. & Mrs. Harry M. Dreffs Drs. Wi lliam P & Frances L. Ms. Anne Edsa ll DeRoy Testamentary Foundation Mr. & Mrs. George P Duensing Sosnowsky Mr. & Mrs. Jerry Efros john S. and James L. Knight foundation Ms. Ingrid Eidnes Thomas Emmett Sullivan The Honorable and Mrs. S.]. Elden Matilda R. Wilson,Fund Mr. Mervin W Eisen Mr. & Mrs. Stephen M. Sweeney Dr. & Mrs. Edwin S. English Mr. & Mrs. Laurence Elliott Mr. John W Sybert Mrs. Madel A. Ernemann FELLOWS Mr. Howard Emmer Miss Mary Ellen Tappan Mr. Riad N. Farah Mr. & Mrs. Robert Fair, Jr. Mr. Michael Tramont Judge Sharon Trevis Finch $10,000- $14,999 Mr. Albert Febbo Ms. Marleen Tulas Mrs. Lillian Fishtah1er Ann and Gordon Getty Foundation Dr. & Mrs. Charles H. Feinman David Kinsella and Joyce Urba Dr. Zdzislaw Fiutowski James and Lynelle Holden Fund Dr. & Mrs. Irving Feller Dr. Joseph Valentin, DDS Mrs. Shirley M. Flanagan The Samuel L. Westerman Foundation Dr. & Mrs. Lionel Finkelstein Mr.]. Ernest Wilde Mr. John Fleming David M. Whitney Fund Mr. & Mrs. Anthony C. Fortunski Mr. Halton Williams Mr. & Mrs. Harry S. Ford,Jr. Mr. Earl A. Foucher Mrs. Barbara Willis Ms. Phyllis Foster Dr. & Mrs. William R. Fulgenzi Dr. Magnus A. Wilson Mr. Benjamin Frank SUSTAINERS Dr. & Mrs. Byron P Georgeson Mr. & Mrs. Larry Winget Ms. Josephine E. Franz $5,000 - $9,999 Ricardo & M. Graciela Gonzalez Ms. Hildegard Wintergerst Mr. & Mrs. Douglas A. Fraser Mr. & Mrs. Maynard M. Gordon Mr. & Mrs. T. Wa llace Wrathall Ms. Mary Ann Fulton The Mary Thompson Foundation Mr. & Mrs. Raymond Greenspan Mr. & Mrs. Earl Gabriel ,- Mr. & Mrs. Charles G. Gunderson LUMINARY Dr. T. E. Garcia PATRONS Mrs. Robert Hamilton Mr. & Mrs. Ray Gardner Dr. & Mrs. Natan Harpaz $250 - $499 Mrs. Aa ron H. Gershenson $2,500 - $4,999 Dr. & Mrs. Jack H. Hertzler Mr. & Mrs. William j. Adams Mr.James]. Gibbs Japanese Society of Detroit Foundation Miss Mary A. Hester Mr. & Mrs. Edward f All wein Mr. Larry Glowczewski Christi Hoagland Mr. Augustine Amaru Dr. & Mrs. Joel Goldberg Mr. & Mrs. Alan Israel Mr. Charlie Antal Dr. & Mrs. Milton Goldrath DONORS Mr. & Mrs. Perry Johnson Mrs. Emilia Arnold Ms. Priscilla A. B. Goode ll $1,000 - $2,499 Ms. Rosemary Joliat Mr. & Mrs. John A. Ashton Dr. & Mrs. Paul Goodman Dr. & Mrs. Howard C. Joondeph Mr. & Mrs. Stephen M. Bakonyi Ms. Nora L. Grabowski Drusilla Farwell Foundation Mrs. Joyce Ann Ke lley Andrea Z. & Jam es M. Ba1cersk i Ms. Jane Adele Graf Alice Kales Hartwick Foundation Mr. & Mrs. Jerome B. Kelman Ms. Patricia Ball Mr. & Mrs. Jonathon Greeli The Meyer and Anna Prentis Family Mr. Leslie Klauka The Honorable Mr. & Mrs. Grove Grimes Foundation, Inc. Mr. & Mrs. Stanley L. Kley & Mrs. Robert D. Bennett Mr. Henry M. Grix Sage Foundation Mr. James f Korzenowski Mr. Roland L. Bessette Mrs. Claire L. Grosberg Young Woman's Home Association Mr. & Mrs. Karl A. Kreft David and Maria Bilson Mr. & Mrs. David A. Guga la Mrs. Joseph E. Lunghamer Mrs. Norman Bird Mr. Stephen Hagopian CONTRIBUTORS Dr. & Mrs. Robert E. Mack Mr. Svein Bjorkly Mr. & Mrs. Leslie R. Hare Mr. & Mrs. James ]. Madden , Jr. Mr. & Mrs. Eugene W Blanchard Ms. Anne H. Helfman $500 - $999 Mr. Ralph C. Mangold Dr. Edwin C. Blumberg Dr. & Mrs. Michael Hepner The Clarence and Jack Himmel Mr. & Mrs. Joseph Maniscalco Mrs. Saundra Y. Bohanon Mr. Bruce A. Herbert Foundation Ms. Jean Mawdesley Mrs. Gertrude D. Bonk Mrs. Bruce A. Hillman Ann and Mike Rosenthal Family Mrs. Edyth Mazur Mr. & Mrs. A. ]. Boone Mr. Frank Hoag Foundation Dr. Thomas G. McDonald Ms. Ruth Bozian Dr. & Mrs. Leon Hochman The Village Woman's Club Foundation Ms. Patricia McKanna Mr. Alan]. Burg Ms. Donna Ho lycross Mr. & Mrs. Harold A. Meininger Mr. & Mrs. Roy E. Calcagno Mr. & Mrs. Jacob Hurwitz Mr. & Mrs. William Michaluk Ms. Teresa Carbajal Mr. Andrew Jackiw Ms. HelenCopyright Millen 2010, Michigan Mr.Opera Maurice Theatre Chandl er Mr. Michael R. Johnson Mrs. Ollie Johnson Mr. &: Mrs. George E. Saunders Ms. Elizabeth Aprahamian Mr. Stephen C. Brownell Mr. Chois Jones Mr. &: Mrs. John Schmidt Mr. Peter]. Armstrong Mr. Barth Bucciarelli Ms. Marie M. Jones Ms. Susan Schooner Dr. &: Mrs. Niara Arpaci and Family Mr. &: Mrs. Lester Burton Mr. &: Mrs. Herman Kaplan Mr. Donald Walker &: Mrs. Rosemarie Ash Mr. Roy Busse Mr. &: Mrs. Garry Kappy Trudi Schreiber Dr. Mary Antonia Ausum Mr. &: Mrs. Roy Callan Dr. &: Mrs. Sydney M. Kaufman Dr. &: Mrs. M. U. Scott Fred and Erika Baer Mr. George Cameron Dr. Sherman Kay Ms. Ellen Sharp Simon S. and Sylvia W Baer Mr. &: Mrs. James Cameron Hon. &: Mrs. Stan C. Kazul Dr. John E. Sheard Mrs. Doris I. Bailo Mr. Jim Campagna Mrs. Walter} Kemler Ms. Marguerite R. Shearer Mr. &: Mrs. Eugene Balda Mr. &: Mrs. Brian C. Campbell Mrs. Carl Kish Mr. &: Mrs. Peter Silveri Mr. &: Mrs. William O. Ball Mrs. Joan M. Campbell Mr. &: Mrs. Donald A. Knapp Mr. Lee William Siazinski and Family Mr. &: Mrs. L Douglas Campbell Mr. &: Mrs. Semon E. Knudsen Mr. &: Mrs. Kurt B. Smith Ms. Helen Balton Patricia B. Capalbo Mr. John Konik Mrs. Alma]. Snider Mr. Gerald Banister Dr. Anthony Cardellio Mr. &: Mrs. Marc Lakin Dr. &: Mrs. Yoram Sorokin Mr. Bassel Y. Banny Dr. &: Mrs. Juan C Carioni Mr. &: Mrs. Geoffrey]. Lanning Mr. Jerry Spencer Mr. &: Mrs. C. Robert Barnard Mr. &: Mrs. James E. Carlson Miss Olya Lash Ms. Marilynn Spoon Mr. &: Mrs. V John Barnard Ms. Jean Carnahan Dolores and Paul Lavins Mr. Don St. John Mr. Robert A. Barnhart Mr. Clint W Carpenter Michael and Judy Layne Ms. Denise Stalzer Ms. Sylvia Bartalucci Mr. Gregory P Carpenter Mr. &: Mrs. William Lee Dr. &: Mrs. Mack C. Stirling Mr. &: Mrs. Lee Barthel Mr. &: Mrs. Samuel A. Cascade Mr. &: Mrs. Timothy P Lentz Mr. &: Mrs. Gerald H. Stollman Mr. &: Mrs. Jim Battey, Jr. Mr. &: Mrs. Grant C. Chave Dr. &: Mrs. Leonard Lerner Mr. &: Mrs. Harvey Baum Ms. Dorothy Christiansen Mr. &: Mrs. Yale Levin Dr. Anjanette M. Stoltz Ms. Carolyn Stubbs Mr. &: Mrs. Russell A. Bayly Mr. Sam]. Ciacco Ms. Mary Sirotkin Lewis Mr. Theodore Beard, J r. Mr. &: Mrs. Ben Ciccarelli Mr. William L Libby, Jr. Dr. &: Mrs. Komol Surakomol Dr. &: Mrs. Jacques Beaudoin Dr. Gregory Q. Clague Mr. &: Mrs. Albert A. Loffreda Ms. Barbara Sutton Mr. &: Mrs.]. D. Beauvais Ms. Heather Clark Mrs. Elizabeth A. Long Mrs. Marge Swan Mr. &: Mrs. Henry P Bechard Mrs. Robert Clark Dr. &: Mrs. Robert Lucas Mrs. Edward D. Thomson Mr. Gabriel Beer Ms. Mary M. Clement Ms. Helen Lynch Mr. &: Mrs. Donald M. D. Thurber Mrs. Sharon Belobraidich Dr. &: Mrs. Volna Clermont Mary and'JamesM. MacNee III Fund Mr. Emmet E. Tracy,Jr. Mr. &: Mrs. Peter Benedetti Mrs. Laverne Coan Dr. &: Mrs. Saul Z. Margules Dr. &: Mrs. Dimitry M. Turin Dr. &: Mrs. David Benjamins Dr. &: Mrs. Eudoro Coello Maurice L MarshaLl Mr. &: Mrs. Sheldon Turley Mr. &: Mrs. Raymond Benner Mrs. Jaqueline Cohen Ms. Elizabeth Maysa Mr. &: Mrs. William Twiddy Hon. &: Mrs. Robert D. Bennett Dr. Arnold M. Cohn Ms. Mary C. Mazure Ms. Theresa Vaitkunas Mr. Robert]. Bennett Mr. &: Mrs. Jim Collins Mr. &: Mrs. Mark McCartin Mr. &: Mrs. Elliott H. Valentine Miss Elaine Beresh Mr. &: Mrs. James M. Colville Ms. Katherine McCullough Mr. &: Mrs. John Van Brandeghen Mr. &: Mrs. George R. Berkaw,Jr. Mr. &: Mrs. Henry C. Conerway, Sr. Mr. &: Mrs, Stanley C. McDonald Dr. &: Mrs. Ignatios Voudoukis, MD Dr. &: Mrs. Allen Berlin Mrs . Marjory Conley Mr. &: Mrs. Kenneth B. Meskin Mr. John W Waidley Ms. Sondra L Berlin Dr. &: Mrs. Ralph R. Cooper Mrs. Barbara Milbauer Mr. &: Mrs. Jonathan 1. Walton Dr. &: Mrs. H L Bienenfeld Mrs. Elsa B. Copa Mr. &: Mrs. Stanley Millman Miss Evelyn A. Warren Mr. &: Mrs. Ronald C. Bierman Mr. Allen B. Copley Dr. &: Mrs. Harvey Minkin Mr. &: Mrs. Cyrus H. Warshaw Mr. Frank]. Coppola Dr. Eliezer Monge Mr. &: Mrs. Maurice S. Binkow Mr. &: Mrs. Paul f Wasielewski Ms. Flora Blackman Mr. &: Mrs. James H. Cornell Mr. James Morrison Mr. Ken Watanabe Mrs. Helen M. Muzleski Mr. &: Mrs. Saul Blackman Mrs. Rosa Mary Crawford Mr. &: Mrs. David Weinberg Mr. Milan Blaha Mr. &: Mrs. Leonard]. Crayle Mr. &: Mrs. Adolph]. Neeme Mr. Herman Weinreich Mrs. Kathleen M. Nesi Mr. &: Mrs. William G. Blakeney Mr. &: Mrs. James H. Culbertson Dr. Larry A. Wickless Mr. &: Mrs. Jerry-M. Blaz Dr. &: Mrs. Victor Curatolo Mr. Robert A. Nitschke Ms. Barbara Windsor Mrs. Noemi Noriega Dr. &: Mrs. Jason H. Bodzin Mr. &: Mrs. William]. Cushing Mrs. Nancy Wittl Mr. &: Mrs. James W O'Connor Mrs. Dawn Boesen Ms. Beatrice D'Ambrosio Mr. David D. Woodard Ms. Patricia Jean Oliveri Mr. &: Mrs. Alvin E. Bohms Mr. &: Mrs. Lyle K. Daly Dr. Ruth A. Worthington Mr. &: Mrs. Dale]. Pangonis Ms. Kathleen Bohn Mr. &: Mrs. David W Daniels Ms. Gunvor Wrathell Mr. &: Mrs. Joseph R. Papp Ms. Catherine I. Bolton Mrs. Gwendolyn Daniels Mrs. Teruko Yamasaki Ms. Athena Pappas Mr. &: Mrs. Howard H. Bondy Mrs. Carla Davison Mr. Lawrence Youhanaian Dr. &: Mrs. Thomas Petinga,jr. Mr. &: Mrs. Donald R. Borgeson Mr. &: Mrs. William A. Day Richard &: Meryl Place Fund Mr. &: Mrs. Andrew Zabik Mrs. Dolores G. Bowen Mr. &: Mrs. Anthony De Tomaso Jim and Arlene Plate Dr. Gregory A. Zemenick Mr. Gene Bowen &: Mr. Robert Bowen Mr. George W Declark Mr. &: Mrs. David W Porter Mr. &: Mrs. David Zimmerman Mrs . Marilyn Bowerman Mr. Orion Demitrish Dr. &: Mrs. Michael Prysak Mr. Dave Zmyslowski Mr. &: Mrs. Harry W Bowes Miss Helen Denis Mr. &: Mrs. Glenn 1. Purdy Mr. Wil H. Bowlus Mr. James Denson Joseph Radanovich &: Eleanor Budd SUPPORTERS Mr. &: Mrs. Michael Bowman Mr. Fred Deutsch Mr. &: Mrs. David Deview Dr. Melvin L Reed $120 - $249 Mr. Richard A. Boyes Mr. Dennis C. Regan Mr. &: Mrs. Jack Bradford Ms. Nesrin Dickow Mr. Bernard]. Reilly Mrs. Mary M. Abbott Mr. &: Mrs. Robert W Bradley Mr. M. f Dipzinski Enrique Reiners Mr. Richard Abrams Mrs. Harriet V Bray Dr. &: Mrs. Herbert H. Dobbs Mr. &: Mrs. John]. Riccardo Mr. &: Mrs. Thomas B. Adams Mr. &: Mrs. John C. Brennan Dr. &: Mrs. John W Dobbs Mr. &: Mrs. Robert B. Rito Mr. Michael Agius Mr. &: Mrs. James A. Brewer, Sr. Miss Ruth G. Doberenz Mrs. Marie I. Roberts Mr. Anthony Alcantara Mr. &: Mrs. Reginald Broner Mr. George Dodd Ms. Alice L Rodriguez Mr. &: Mrs. Richard Alder, Jr. Dr. Larry L Bronson Mrs. Cole en Dolan-Green Ms. Rachel Rosenthal Mr. William Allen, Jr. Mr. Marc Bronzetti Monroe Dowling Mr. Aaron R. Ross Mr. David Amos Ms. Joann f Brooks Dr. Elizabeth Downs Mr. &: Mrs. Theodore Rudner Ms. Sachiko An Ms. Mary Jo Brough Mr. Marvin Dubrinsky Ms. Laurie Sail Mr. Lars H. Anderson Mrs. Geraldine L Brown Dr. &: Mrs. Charles H. Duncan Dr. &: Mrs. William H. Salot Ms. Margaret Angus Mr. Louis Brown Mrs. Saul H. Dunitz Mr. &: Mrs. John W Sanders Ms. Leslie AnthonyCopyright 2010, MichiganMs. Patricia Opera M. Brown Theatre Mr. &: Mrs. William A. Dunning Mrs. Olga F. Dworkin Ms. Annette N. Haley Dr. George Kieler Mr. &: Mrs. Robert M. Mair Mrs. Anne Dziuba Mr. Nizami Halim Mr. &: Mrs. Norman L. Kilgus Ms. Kathleen Makstutis Mr.John Ecclestone Mr. &: Mrs. John Handloser Ms. Constance Kimmel Mr. &: Mrs. George Mallos Dr. &: Mrs. William P. Edmunds Mr. &: Mrs. Stephen G. Harper Ms. Ida King Ms. Colleen Maloney Dr. &: Mrs. C. Rupert L. Edwards Mr. W. Milton Harper Ms. Lillian R. King Dr. Stephen Mancuso Dr. &: Mrs. Myron Emerick Ms. Amy Hartman Mr. Edward Kingins Ms. Pamela K. Manela Mr. &: Mrs. Abram Epstein Dr. &: Mrs. Craig Hartrick Ms. Katherine M. Kirwan Mrs. Jessie B. Mann Mr. &: Mrs. Alex Erdeljan Mr. &: Mrs. James G. Hartrick Mr. &: Mrs. Peter C. Kitka,Jr. Mr. Gary March Mr. &: Mrs. Paul]. Ethington Mr. &: Mrs. Stephen R. Harvath Dr. &: Mrs. Edward Klarman Mr. Keith R. Marchiando Miss Elizabeth N. Evans Mr. William F. Hayden Dr. Gilbert Kleiff Mr. David G. Marckini Dr. &: Mrs. Leonard Evans Mr. &: Mrs. J. Theodore Hefley Mrs. Sidonie D. Knighton Ms. Dolores Markowski Mr. &: Mrs. Alger L. Faber Ms. Mary A. Helin Dr. &: Mrs. Lester]. Kobylak Mr. &: Mrs. Rollin P. Marquis Dr. &: Mrs. Jalil Farah Ms. Barbara Heller Ms. Maryann Koenig Ms. Janet R. Marsh Dr. &: Mrs. Peter A. Martin Dr. &: Mrs. Riad Farah Mr. Charles Hendriks Mr. Daniel B. Kolton Mr. Matthew]. Mason Mr. Everett L. Farmer Mrs. Katherine Hendry Mr. &: Mrs. Ronald Komer Mrs. Lynne Beth Master George and Susan Dersnah Fee Dr. &: Mrs. Alan T. Hennessey Mr. Zigmund D. Konapski Mr. &: Mrs. Nicholas P. Kondak Mr. &: Mrs. John L. Mayer Dr. &: Mrs. Herbert Feldstein Mr. Russell Herschler Mr. &: Mrs. Roy H. Koponen Mr. Timothy Mayer Mrs. Erika Ferguson Mr. &: Mrs. Harvey Hershey Ms. Sara Hill Dr. Sylvia M. Kosciolek Mr. &: Mrs. Mark and Lucy Mayville Mr. Joseph Fetter Mr. Michael E. Hinsky Mrs. Karen Koss Mr. &: Mrs. Charles E. Mc Collum Marco Fiandre' and Roger Loeb Mr. &: Mrs. Heinz Hintzen Dr. &: Mrs. Vlado]. Kozul Mr. Brian McGookey Ms. Judith Fietz Mr. &: Mrs. James C. Hitchcock Drs. Norman and Teresa Krieger Ms. Caroline McInnis Mr. William G. Finlayson Mrs. Wiebke Hnatiuk Mr. &: Mrs. William Kropog Mr. Donald E. McIntosh Ms. Katherine Finney Ms. Peggy Hoblack Donald and Sandy Krueger Ms. Mary Ann McKenna Mr. &: Mrs. Leonard G. Finnman Mrs. Frances]. Hocking Mr. &: Mrs. Daniel]. Kubicz Mr. &: Mrs. James McLean Dr. Lydia H. Fischer Mr. &: Mrs. Robert C. Hodges Mr. Albert]. Kurt Mr. Michael McLean Mr. &: Mrs. Alfred]. Fisher,Jr. Mr. &: Mrs. Edward Hoelscher Mrs. Peggy LaRose Mrs. Glenda McLellan, Sr. Ms. Dorothy Fisher Mr. Richard L. Hole Mr. Chak Lai Mr. &: Mrs. Donald R. McNair Mrs. Margaret B. Fisher Dr. &: Mrs. Nathaniel Holloway,Jr. Mrs. Anne Lamont Mrs. Susan K. McNish Mr. Richard Fleck Ms. Barbara Homan Mr. Jerald Laperriere Ms. Barbara Medeiros Mr. Thomas Foerster Mr. &: Mrs. Bob Houbeck Mr. &: Mrs. Clinton D. Lauer Mr. &: Mrs. Otto Mehringer Mr. Robert W. Foreman Miss Irene Hubbard Mrs. Susan K. Lawrence Lucy and Bernard Merritt Dr. &: Mrs. John Forreno Mr. &: Mrs. William C. Hufford Mrs. Sally A. LePla-Perry Mr. James Messana Ms. Doris R. Foster Mr. &: Mrs. Laurence E. Huntington Ms. Patricia R. Lee Ms. Lynne M. Metty Mr. &: Mrs. Harold L. Frank Dr. Kyu]. Hwang Ms. Shanel L. Lee Ms. Anita L. Miller Mr.Jon Frank Mr. &: Mrs. Mario Iacobelli Mr. Raymond A. Lehtinen Mr. Eugene T. Miller Ms. Pennylyn Franz Mr. Micheal Ianuzzi Mrs. Mary Lemon Mrs. Joan E. Miller Mrs. Lois Freeman Mr. &: Mrs. Stanley Iczkovitz Mrs. Adrienne Leonard Mr. &: Mrs. R. H. Miller Ms. Mary Ellen Freidhoff Mr. &: Mrs. Addison Igleheart Dr. &: Mrs. John M. Lesesne Mr. Richard]. Miller Mr. Harold S. Friedman Mrs. Susan M. Inglis Mr. &: Mrs. Robert I. Lesser Dr. &: Mrs. Ronald Miller Mr. Nicholas Frontczak Ms. Elizabeth Ingraham Ms. Joyce Leuchtenberg Mr. John Mills Mr. Spencer R. Gaither Mr. &: Mrs. Archie N. Irwin Mr. Clif Levin Mr. &: Mrs. Patrick A. Minnick Ms. Lucile Gajec Mrs. Mary Ann Jackson Mr. &: Mrs. Gerald Levin Jeffery and Marsha Miro Mr. &: Mrs. Gary G. Galunas Mr. &: Mrs. Zoltan]. Janosi Mr. Kenneth Levin Ms. Wanda Montibeller Dr. Juan Ganum Dr. Donald Janower Mrs. Walton A. Lewis Hon. Marion Moore Mr. Julio Garcia Mr. Lawrence]. Johnson Mr. &: Mrs--John H. Libcke Mr. &: Mrs. E. Alan Moorhouse Mr. Carl Gardecki Mr. &: Mrs. Paul H. Johnson Mr. &: Mrs. William H. Lichty Mr. Erivan R. Morales &: Mr. &: Mrs. Brian Garves Mr. Samuel C. Johnson Dr. &: Mrs. Arthur S. Lieberman Mr. Seigo Nakao Father Valentino A. Gattari Dr. &: Mrs. Arnold Jones Dr. David]. Lieberman Mr. Robert L. Morency Mr. Charles Gaulke Mr. Sterling C. Jones, Jr. Mr. Karl Lienhard Mrs. Irene]. Morgan Mr. &: Mrs. John Gelder Mr. Jefferson L. Jordan Ms. Elizabeth Lifsey Mr. &: Mrs. Henry B. Morgenstein Dr. &: Mrs. James W. Gell Mr. Scott Jorgensen Mrs. Tracy Lightbourn Mr. &: Mrs. Emil Moro Dhia and Virginia George Mr. Daniel]oseph Eileen Prinsen &: Carol Ligienza Mr. Bruce R. Morrison Mr. &: Mrs. James Gerlach Kenneth York and Heidi Josephson Mr. Joseph Lile Mr. &: Mrs. Cyril Moscow Mr. Michael Gerstenberger_ Mr. &: Mrs. Kenneth Kaestner Dr. &: Mrs. Floyd H. Lippa Mr. Carl Mueller Mrs. Mary Anne Gibson Mr. &: Mrs. Richard Kalcec Mrs. KyJe L. Lipski Mr. Richard Kneale Mulvey Mrs. Tamara S. Gilbert Mr. Robert D. Kallay, Jr. Carol and Ray Litt Mrs. Maree R. Mulvoy Mr. Tod L. Gilbert Mrs. Elmer Kapp Mr. Michael S. Litt Mr. &: Mrs. Jack Muma Lynne M. Girard-Dewey Mr. &: Mrs. Daniel Karnowsky Ms. Kvei-Mei Liu Ms. Susan Munsell Mr. &: Mrs. Michael M. Glusac Mr. Peter Karpawich Mr. Wolfgang Lorenz Mr. John D. Murray Mr. &: Mrs. Larry Goldberg Mr. &: Mrs. Stephen D. Kasle Ms. Elaine Lovitt Mr. Donald A. Naftel Mr. &: Mrs. William R. Goudie and Family Mr. &: Mrs. John Lowe Ms. Lisa Nagro Mr. &: Mrs. Robert S. Graham Mr. Richard Katnik Mrs. Penny L. Lowes Ms. Barbara Naruta Mr. William E. Greba Dr. &: Mrs. Herbert Kaufmann Mr. John Lowry Mr. James A. Neeland Ramona Green, Esq. Mr. Michael V. Kaul Mrs. David G. Lowy Dr. &: Mrs. Hugo Lopez Negrete Dr. &: Mrs. John N. Grekin Mr. &: Mrs. Richard M. Kaye Mr. Ivan Ludington,Jr. Mrs. James L. Newman Mr. &: Mrs. F. W. Gridley Mr. Daniel]. Kehoe Mrs. Irmgard Luelsdorf Mr. &: Mrs. Donald Nitzkin Mrs. Karen Niva Gubachy C.P.A. Mr. &: Mrs. Ralph Keith Mr. &: Mrs. Curtis Lundy Ms. Judith Nix Mr. George Guffey Ms. Ann Marie Keller Mr. &: Mrs. William O. Lynch Ms. Ruth H. Nix Ms. Rosemary Gugino Mr. &: Mrs. Charles E. Keller Mr. Jerry Lynn Ms. Tina Noor Ms. Cari L. Gully Ms. Geraldine B. Keller Mr. &: Mrs. Louis A. MacKenzie Mr. &: Mrs. Richard L. Norling Joel E. Haas Dr. &: Mrs. John]. Kelly Mr. William Macbride Mr. Silas Norman Mr. &: Mrs. Robert Hage Ms. Velda G. Kelly Mr. &: Mrs. John Macpherson Ms. Mary Northcutt Dr. Michael Hagen Mrs. HelenCopyright A. Keydel 2010, MichiganMs. Opera Anne M. Theatre Madigan Mrs. George W. Nouhan Mr. Steven Novinson Mr. Richard O. Ruppel Robert and Mary Margaret Sweeten Mr. &: Mrs. Richard Wittrup Mr. &: Mrs. Stanley Nowakowski Ms. Joanne Mary Ruzza Mr. &: Mrs. David Swoish Dr. &: Mrs. Robert R Wolfe Mrs. Frances C. Nyquist Mr. &: Mrs. Prentice Ryan Dr. &: Mrs. Leo M. Szalma Mr. &: Mrs. Richard D. Woods Mr. Michael O'Brien Mr. William Ryder Ms. Polly G. Tan Mr. Lawrence D. Wright Mrs. Judith O'Keefe-Vindici Carleton S. &: Craig Ryding Mr. Thomas Tapert Mr. &: Mrs. Thomas V. Yates Mr. &: Mrs. Theodore Oelkers Mr. Micheal C. Sabo Mr. &: Mrs. Burt E. Taylor, Jr. Mr. Francis Yezbick Ms. Penny Oglesby Dr. &: Mrs. Leonard and Linda Sahn Ms. Cassandra Taylor Mr. &: Mrs. JohnE. Young,]r. Ms. Linda C. Oliver Mr. &: Mrs. Paul L. Sak Mr. &: Mrs. Jay H. Taylor Mr. &: Mrs. William Zack Mr. &: Mrs'. Daniel H. Olson Dr. &: Mrs. Brian Sanchez Murphy Mrs. William A. Ternes Mr. &: Mrs. Matthew John Zak Mr. &: Mrs. Anthony Opipari Ms. Patricia Sandbothe Mr. &: Mrs. Russell L. Thayer Ms. Marilyn Zawacki Mr. &: Mrs. Robert Overmyer Mr. &: Mrs.]. Edward Sauble Ms. Virgina Thiele Mr. Walter W Zelasko Mr. &: Mrs. Edward D. Paley Drs. Richard and Janis Saunders Mr. &: Mrs. Norman L. Thoburn Mr. Leonard Zettel,]r. Mrs. Anoush Papelian Philip and Justine Savage Mr. &: Mrs. Merrill D. Thomas Mrs. Eunice Zoellner Mrs. Anne L. Parcells Dr. &: Mrs. L. Boyd Savoy Mrs. Nona E. Thompson Ms. Chan Kee Park Dr. Karen L. Saxton Mr. John P Tierney MEMORIALS & Mr. &: Mrs. Peter W Patrick Mr. &: Mrs. Claus E Schaefer Mr. &: Mrs. Franz Topol HONORARIUMS John and Susan Pavelec Mrs. Emma L Schaver Dr. Nancy A. Treece Mr. &: Mrs. Neal Schechter Mr. &: Mrs. RS. Trotter IN MEMORY OF Mr. Duane Pavey WALTON LEWIS Mrs. Jeanette V. Pawlaczyk Mr. &: Mrs. Herbert Schelberg Ms. Susan Trottier Mr. &: Mrs. Edward Pawlak Mr. Lewis D. Schlanbusch Mr. Mark Truan Ms. Frances D. Blanks Mr. Jim Pawlicki Ms. Victoria Schlega Mr. &: Mrs. Lee I. Turner Ms. Catherine Brown Dr. &: Mrs. Wallace O. Peace Ms. Peggy M. Schley Ms. Patricia C. Turski Susan Hoffman and Frank Cioch Ms. Betty M. Pecsenye Mr. &: Mrs. Richard Schott Dr. &: Mrs. Robert S. Ulrich Mr. and Mrs. Peter Cooper Miss Massimina Peluso Mark G. and Karen L. Schroeder Ms. Barbara Unruh Mrs. La Verne H. Craighead Ms. Kathryn A. Penix Drs. Heinz &: Alice Platt Schwarz Dr. A.]. Utecht Kenneth M. Davies Mr. &: Mrs. John Perentesis Alan and Wynell Schweitzer Ms. Betty Valdez The Partners of Deloitte &: Touche Mr. Michael Perica Dr. &: Mrs. Benjamin Schwimmer Mr. &: Mrs. Frederick W VanDuyne Mrs. William DeVault Mrs. Mary A. Perna Ms. Marilyn Scott Mrs. Heidi Vanbecelaere Helen M. Garvin Dr. &: Mrs. Pc. Pesaros Mr. Andrew]. Seefried,]r. Mr. &: Mrs. Richard Vandenbossche Connie Lovell, ASID -Miss Esther E. Peters Dr. &: Mrs. Nathan P Segel Mrs. Gary Vanneck Charlotte A. Mahrt Mrs. Marilyn B. Shalibo Mr. Dante Vannelli Jessie Mann Ms . Michelle B. P~ters Mr. &: Mrs. Edwin Peterson Dr. Elias A. Shaptini Ms. Rebecca Vansant Antoinette Nowell Mr. Robert Vanwalleghem Mr. &: Mrs. David C. Phelps Ms. Firial Shayota Ruth and John Spencer Mr. Robert M. Piazza Ms. Deborah Shoop Mr. &: Mrs. Dennis]. Varian Roberta and Dick Starkweather Mr. &: Mrs. Kelvyn Ventour Mrs. Ann Piken Ms. Ruth B. Siegel Ruth and Lynn Townsend Mrs. Dorothea Vermeulen Mr. and Mrs. Stephen Vanderpoorten Mr. &: Mrs. Edward L. Pokornowski Ms. Deborah Silver Mr. &: Mrs. Steven I. Victor Mr. JameS Policelli Mr. &: Mrs. Erwin S. Simon Dr. Lad]. Vidergar Ms. Stephanie Polny Mr. Michael Simon IN MEMORY OF .Roy and Margaret Sjoberg Ms. Judith Vigliotti MONA CLOSSON Ms. Mary E. Posont Mr. &: Mrs. Thomas Violante Ms. Lynn Powell Mr. &: Mrs. John Slimko Diana and Rick Langlois Mr. &: Mrs. David E. Smith Ms. Mary Vlasov Mr. &: Mrs. William Purdy Ms. Evelyn S. Smith Ms. Doris Waddell Mr. &: Mrs. Jeff Raben IN MEMORY OF Rum K HILL Mr. James B. Smith Ms. Mary Joyce Waite Mr. Donald Rafal The Hill Family Mr. Martin Smith Mr. Howard H. Waldrop Mr. Richard M. Raisin Charlotte Hay Mr. &: Mrs. Thomas W Smith Dr. &: Mrs. Richard H. Walker Dr. Bobbi Ramp Mrs. Cyvia L. Snyder Mr. &: Mrs. George R. Walrod Mr. &: Mrs. Jack Ransome c. Mr. Stanley Snyder Mr. &: Mrs. Alan Walt IN MEMORY OF Vera Rea RUTH SCHMERlN Dr. &: Mrs. Lincoln E. Solberg Mr. &: Mrs. Robert C. Walter Mr. &: Mrs. John H. Redfield Mr. Mark R Solomon Mrs. Mary Ward Mrs. William DeVault Dr. &: Mrs. Carl E. Reichert, Jr. Mr. Rodolfo Son Mrs. Kathryn N. Warren Ms. Emmaly Reid Dr. &: Mrs. Sheldon Sonkin Mr. R. Mark Warren IN MEMORY OF Mr. &: Mrs. Robert A. Reid Ms. Anna M. Speck Ms. Cary]. Watkins MRS. LOUISE SPER Mr. Richard Reihmer Mrs. Louise Sper Ms. Georgianna Watsell Mrs. Betty]. Hopkins Dr. Dorothy E. Reilly Ms. Jean Spinger Mr. &: Mrs. Daniel W Webb Ms. Christy Reiner Mrs. Howard P Spokes Dr. &: Mrs. Lawrence M. Weiner IN HONOR OF Mr. &: Mrs. Edwin]. Rennell Mr. Don St. John Mrs. Susan M. Weinstock Mr. Harold Gordon Mr. Clarence A. Rice - Mr. Stephen M. Stackpole Mr. &: Mrs. Paul S. Wemhoff Mrs. Irving Greenstone Rev. Clifford H. Rice Mrs. Jean Stanaitis Mr. &: Mrs. John E Werner Mr. Marshall Knoecker Mrs. Miriam C. Richardson Mr. David P Stanislaw Miss Alice R Westfall by Mrs. William DeVault Mr. George Richmond Mr. Robert Stankewitz Mr. Phillip White Gloria and Arthur Steinberg Ms. Nancy Riggs Mr. &: Mrs. Walter M. Stark Mr. &: Mrs. Keith S. Wicks by Charlene and Steven Wecker Mr. &: Mrs. Milton Ring Mrs. Sharon Stencel Mrs. Amy Willens Dr. and Mrs. Robert Gerisch Mr. William]. Rittinger Dr. Mildred Ponder Stennis Mr. &: Mrs. Earl K. Williams by The Mot Board of Directors Mr. Dale Robertson Mr. Paul Stern Mr. George Williams by Mr. and Mrs. Robert Dewar Mrs. Mary Lou Robertson Dr. &: Mrs. Sheldon Stern Mr. Lawrence Williams Dr. David DiChiera Mr. &: Mrs. Peter]. Roddy Mr. Lowell Stevenson Mr. &: Mrs. R Jamison Williams, Jr. by Mr. and Mrs. Peter Cooper Mr. James E. Rodgers Mr. &: Mrs. Carlton Stewart Ms. Mary Williamson Mr. Ronald A. Roguz Mrs. Clamah Stewart Dr. Paula E. Williamson IN-KIND GIFTS Ms. Joanne B. Rooney Mr. Ronald R. Stinson Mrs. Joanne A. Wilson Ameritech Mr. Lars O. Rosaen Mr. &: Mrs. Lawrence Stockier Ms. Nila Wilson Cadillac Motor Car DivisioniGM Dr. &: Mrs. Arthur Rose Dr. &: Mrs. Randall Sturm Mr. &: Mrs. Roy Wilson, Sr. General Motors Corporation Ms. Dolores M. Rosenberg Mrs. c.V. Sumeghy-Mariona Mr. Thomas Wilson Planterra Tropical Greenhouse Inc Mr. William Rosenkranz Mrs. James M. Surbrook Mr. &: Mrs. Donald S. Windeler Saks Fifth Avenue Mr. &: Mrs. Joseph Rotole Mr. &: Mrs. Earl B. Sutton Mr. &: Mrs. James Wishart Star Trax, Inc. Mr. &: Mrs. Casimir B. Rozycki Mr. &: Mrs. PadraicCopyright Sweeny 2010, MichiganMs. Mary Opera W Wisniewski Theatre Washington Clothiers The law firm of We have all kinds Miller, Canfield, Paddock and Stone, P.L.C. congratu lates ,ofg9od The Michigan Opera Theatre mstore. On the opening of the Detroit Opera House

One look at the grocer's meat case, and you'll see Hygrade Food Products has something for everyone. Miller, Canfield, Paddock and Stone, P.L.c. Ball Park 's deliciously popular variety of franks 150 West Jefferson, Suite 2500 and lunchmeat. West Virginia's Detroit, Michigan 48226-4415 country fresh hams, bacon and sausages. Hygrade's high-quality, value-priced franks, 313/963-6420 lunchmeats and sausages. And Grillmaster's taste-tempting poultry products. Michigari Washington, D.C. Florida Poland HYGRADE FOOD PRODUCTS © 1994 HY911.efoodP,od~', De'oi', MI48219 he

~~On the second -level each Thursday Friday & Saturday evening, following the performance . ... at The Whitney Copyright 2010, Michigan Opera Theatre YOUNG ARTISTS APPRENTICE PROGRAM ----~~~.~de~~-----~~

Michigan Opera Theatre's Young Artists Apprentice Program is now in its 16th year of training aspiring young vocal artists and production apprentices fllr the rigors of the professional theatre world. This year, talented young singers recruited from across the country will take up residence with Michigan Opera Theatre for multiple- week sessions of masterclasses with the conductors, directors and singers from current productions; private coachings with MOTs profeSSional music staff preparing their aSSigned comprimario roles for the season's productions; and many rehearsals and performances, deSigned to assist them in making the transition from student to professional. Since its inception, Michigan Opera Theatre has been committed to the development of young American talent, and regards with pride those who have gone on to establish careers in the field. Many singers as well as several company production and artistic staff have returned to MOT in full professional capacities after apprenticeships with the company Furthermore, the list of now prominent artists who made their debuts or had early starts with MOT is impressive; Carmen Balthrop, Kathleen Battle, Rockwell Blake, Richard Cowan, Maria Ewing, Terese Fedea, Wilhelmenia Fernandez, Rebecca Luker, Catherine Malfitano , Leona Mitchell, David Parsons, Kathleen Segar, Neil Schicoff and Victoria Vergara, among others. For further information on auditions and application requirements for the Apprentice Program, please call the MOT Production Office at (313) 874-7850. Michigan Opera Theil-tre's Young Artists Apprentice Program is sponsored annually by The Joyce H. Cohn Apprentice Award Fund, The DeRoy Testamentary Foundation, and the Ruth Hill Apprentice Award Fund. ORCHESTRA & CHORUS >~<

ORCHESTRA CHORUS CHILDRENS VIOLIN I CLARINET Stephanie Amelio Cynthia Merritt CHORUS Charlotte Merkerson Brian Bowman Daniel Aggas Kim Millard Brooke Andres Concertmaster Principal Deborah Balcom jeanine Head Miller Nora Jean Bonner Theodore Schwartz jane Carl Christopher A. Bauder Robert L. Morency Leslie Calhoun Randolph Margitza BASSOON Victoria Bigelow James Mackey Moore Lindsay Calhoun Velda Kelly Cecilia Bohorquez-Courtois Anthony Noto Theresa Catalfio Kathleen Brauer Kirkland D. Ferris Principal Kristen A. Bryant Jennifer L. Oliver Kathryn Cavalieri VIOLIN II Cheryl A. Bubar Peggy O'Shaughnessey Jenny Florkowski Victoria Haltom HORN Fred Buchalter Joseph Anthony Pokorski Tina Genitti Princi~al Susan Mutter K. Wayne Brooks Michael S. Parr Ashton Hopkins Brooke oplamazian Principal Diane Aron-Calhoun Melissa Petro David Kirsch Anna Weller Carrie Banfield Patrick Jay Clampitt Jan R. Phillips Ariadne Lie Angelina Carcone TRUMPET Tracey N. Conrad Patricia Pierobon Danny Oravec VIOLA Brian Rood Michaella Patches Dionne Frank Pitts Joseph Michael Piro Jessica Nance Principal Sarah Dornblaser David Ploof Parker Plague Principal Gordon Simmons Vanessa Ferriole David Reilly jennie Schmidt Barbara Zmich Louise A. Fisher Amy Lynn Rice Nicky Spry TROMBONE Yvonne M. Friday Mary Robertson Matthew Travis VIOLONCELLO Maury Okun Rachelle Gillett-Behrens Jo lante Rode Abigail Youngerman Nadine Deleury Principal Rosalin Contrera Guastella John Schmidt Principal Greg Near Diane Bredesen Jillian D. Hemann Robert H. Schram The American Guild of Musical Artists is the 7fzicial union of Minka Christoff TIMPANI Donald Thomas Jackson Kennerth R. Shepherd Clarence E. Jones Karen Sowka the Mich1can pera Theatre CONTRABASS Gregory White vocal per onners Principal Leonard-James Johnson Judith Szefi Derek Weller Rita Jury Eric Watterworth Pril1cipal PERCUSSION Harvey W Krage Alvis-Wayne Peter Guild John f Dorsey Jeff Krueger James R. Wells FLUTE Pril1cipal Dana Lentini Timothy Wolf Pamela Hill HARP Ray Litt Eugene Zweig Pril1cipal Patricia Terry-Ross Tony Lynch Laura Larson PrinCipal OBOE Diane Bredesen Rebecca Hammond Personn el Manager Principal Ann Augustin Copyright 2010, Michigan Opera Theatre

~~Detroit Federation of Musicians , Local #5, American Federation of Musicians. B'URWOOD BUSINESS MACHINES~~

~~32401 Edward Madison Heights, Michigan 48071 ~~~

~~We're pleased to congratulate the Michigan Opera Theatre on its new home. We also have moved, closer to you.~~

~~The Center for Facial Cosmetic Surgery and FAX MACHINES-COPIERS TYPEWRITERS -CALCULATORS The Vocal Health Center~~

~~Livonia Specialty Care Center • 19900 Haggerty Road, Livonia • 1-800-493-3223 SALES AND SERVICE CALL !!!!:.~ University of Michigan .;::;-.=..§§ Medical Center - - - 1-800-852-7721~~

~~79 E. Maple, Troy, MI 48083 (810) 689-8424 SIBLEY'S FAX (810) 689-6162 SHOES~~

MICHIGAN'S LARGEST FLORSHEIM AND ROCKPORT DEALER 24-Hour Mail Order & Message Toll Free: 1-800-697-VIOL One 0/ the nation's premier repair and restoration shops Superb in-house coHection 0/ authentic Italian instruments /rom the 17th century to the best 0/ the modern school Beautiful older European violins for advanced students. Liberal approval Peter & Laurie PsancJnos Ms. & trade-in policies; rental service Providing Service to members 0/ the SIBLEY nationwide. Detroit Symphony since 1976 FEMININE FASHION COMFORT FOOTWEAR Copyright 2010, Michigan Opera Theatre CoMMUNITY PROGRAMS AND TuE NEw DETROIT OPERA HOUSE by Karen VanderKloot DiChiera, Director oj Community Programs

The Department of Community Programs is a division of Michigan Opera Theatre which is devoted to arts programs for all members of our community from pre-schoolers to senior citizens in every corner of our state and neighboring states. During the years of dreaming about our own opera house ...and then planning our own opera house, people have been curious as to how a permanent facility would affect our department. Many people assumed that since we tour so much, and teach educational programs in schools so frequently, that having a home wouldn't make much difference to us.

Actually, the opposite is true. The anticipation of a permanent home has encouraged us to think creatively in new directions. Through the years, the Department has developed a solid reputation in many different areas. One is Create-An-Opera, which is offered to learners of all ages. This course allows students to experiment in writing, composition, choreography and art, while creating original works. Launched in the Birmingham School District in 1976, the twenty-year old program has always been taught at an edllcational institution. With our own facility, we will have the ability to offer the program ourselves without having to be part of a school curriculum. Speaking of "courses," we will be able to offer a number of sessions on a variety of arts-related topics. We will base our offerings on the requests of the community.

Of course, we will continue the ground-breaking work that our Department began in work ing with Sight and hearing impaired individuals. In fact, we want the Detroit Opera House to accommodate persons with any disability. Having control of our own environment will facilitate this endeavor.

The Detroit Opera House will have rehearsal space for Community Programs. Up until now, we have been like impoverished nomads, constantly imploring local churches and educational organizations for space to rehearse and "mount" our shows. Now our tour pro ductions will be smoothly prepared in one location, with our own piano and storage space.

When we tour the state, we present our popular "Broadway Revue", which is re-written each year. We perform delightful and educational productions for children such as The Night Harry Stopped Smoking, a mini Hansel And Gretel, Aesop~ Fables and All About Our Voices to name a few. Never before, have we had the ability to offer these programs to the general public. Through the years, Community Programs has developed a national reputation for writing and commissioning new works or re-writing standard works to tour. All of the premiers of these works have taken place on the road. Now, we can present them first in the black box (rehearsal space) - our premiers will be in the Detroit Opera House.

The new Detroit Opera House will open many new doors and offer many new adventures. The Detroit Opera House will be a catalyst for even more awards and honors in our Department's tradition,thus serving and enhancing the lives of our state's citi zens. Indeed, this unique window of opportunity will serve to stimulate our involvement with the community, which is part of our Department's name - Community Programs.

~~Regional Italian Food Open Sun days duriJlg Opera Season Lu nch-Monelay tJu:u Friday~~

~~Din ll er-Tuesday [bTU Saturday PrivateParlies Wci come - Sbuttle Service AvaJablc~~

~~1435 RandollJit, Detroit 313.961.0202~~

~~The law firm of~~

~~DICKINSON, WRIGHT, MOON, VAN DUSEN & FREEMAN~~

~~applauds the~~

~~MICHIGAN OPERA THEATRE umlac-apin$J ft 0..19n • Unulu.1 ptants~~

~~~8~~ W. M_~ple •West Bloomfield VJ Mile West of Orchard take Detroit - Bloomfield - Lansing - 1 · 800 · ~OO · ~m Grand Rapids - Chicago - Washington - Warsaw 81O · 8~J.0440 (313) 223-3500~~

~~True beauty lies in synergy. The delicate dance of light and color on a canvas. The marriage of music and words on a stage. The synchronization of stem and petal on a rose.~~

~~At DuPont, we also see beauty in the way components interact in the automobile. Indeed, it is art as much as science. We have applied this rather visionary approach to our repertoire~~

of more than 100 automotive product lines. Each is designed and integrated to maximize overall system performance. And at the same time, reduce total cost. We call it a "complete systems" approach ... seeing the possibilities that exist when all the pieces work together. And helping our customers realize them. To us, an approach by any other name could never be as sweet.

~~More Technologies For Better Solutions ... Start With DuPont.~~

~~DuPont Automotive~~

This quarter century of activity has only been possible through the efforts of many dedicated individuals contributing their time and resources in support of Michigan Opera Theatre's mission. Their dedicated support through a variety of activities has encompassed many individuals and corporations participating on the Board of Directors, operating the Opera Boutique, providing hospitality to visiting artists, and hosting a cavalcade of social and fund raising events. The Board of Directors of Michigan Opera Theatre recognizes the impact volunteer participation and leadership has on the development of the Company's growth as we move into the Detroit Opera House.

~~OPERA LEAGUE OF DETROIT USHERS EDUCATION Maria Lucarelli Peggy Smith Ana Rea~~

OFFICE VOLUNTEERS FRIENDS OF THE BALLET OUTREACH Jeanette Pawlaczyk Marlene Habitz Wallace Peace Fran Kaczmarek BOUTIQUE NEWSLETTER Terry Shea Barbara Naruta YOUNG PROFESSIONALS Todd Walker SUPERNUMERARIES Jim Walsh MEMBERSHIP BOOK Sharon Wallace Snyder M.O. T. MOVERS Nancy Krolikowski

~~OPERA HOUSE AMBASSADORS Patty Fox /~~

PRESIDENT Gloria Clark SECRETARY TREASURER Nancy Moore PUBLICITY William Warner Betty Bright TRIBUTES HISTORIAN Vicki Kulis NOMINATING Queenie Sarkisian Lorraine Schultz O.G.I. REPRESENTATIVE Sharon Gioia MEMBER AT LARGE Sharon Gioia Jacque Mularoni Marge Slezak Terry Shea

The $25 annual membership in the Volunteer Association helps to support ongoing activities and programs of Michigan Opera Theatre and is fully tax-deductible as a contribution to a 501(c)3 organization. Please contact Roberta Starkweather, MOTVA Coordinator, at (313)874-7850 or write to 104 Lothrop, Detroit, MI 48202 for more information.

Copyright 2010, -Michigan74 - Opera Theatre Copyright 2010, Michigan Opera Theatre ... to motivate you. As the world's largest independent supplier of automotive interior systems, Lear now offers you single-source capabilities - an industry first.

~~Our expanded network includes 107 facilities"" in 18 countries worldwide. From research, engineering and design to manufacturing, assembly, and JIT delivery.~~

Even more motivating is the added value we offer our customers: • cost savings • time-to-market reduction • enhanced color and finish compatibility • improved flexibility through multiple manufacturing technologies. ·

Lear - A single source for automotive interior systems. LEAR CORPORATION World Headquarters Southfield, Mi chi gan CopyrightMembe 2010,r MichiganNYSE; Symbol: Opera LE TheatreA Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre ADMINISTRATION & STAFF ----~~~.~ae~~-----

~~) JOHN LEBERG DAVID DiCHIERA KIM JOHNSON Interim Managing Director General Director Managing Director, Detroit Opera House~~

Karen VanderKloot DiChiera Steve Haviaras Mitchell Krieger David W Osborne Director of Community Programs Director of Marketing Director of Artistic Resources Director of Production Mary Parkhill William E. Schoettle Laura R. Wyss Director of Development Chief Financial Officer Manager of Public Relations

ADMINISTRATION Jeanette Pawlaczyk Debra Acuna Dave Muczinski Allan Grasso Public Relations Volunteer Susan Hamilton Production Assistant Patricia Keresztes Administrative Assistant to the Jerome Magid General Director Genevieve Palczynski TECHNICAL STAFF MOT Photographer Stitchers Eric Graves Kimberley Burgess Mark Mancinelli Technical Director Receptionist/Secretary MOTIDOH Photographer Wardrobe Attendants Local #786, IATSE Rita Girardi Mary Lou Finucan TICKET OFFICE Property Master Administrative Assistant &: Kimberly Mogielski MAKE-UP HAIR Kendall Smith Elsen Associates COMMUNITY PROGRAMS Ticket Services Manager Lighting Coordinator Dolores Tobis Kimberly Gray Cindy Ludwig Office and Marketing Manager John Kinsora Ticket Services Assistant Kimberly Coates Head Carpenter Mark Vondrak Make-up and Hair Designers Anne-Marie Esperti Robert S. Mesinar Associate Director Ticket Services Patricia Keresztes Ensemble Coordinator Head Electrician DEVELOPMENT Toni Wittenhagen Mira Stefaniuk John C. Johnson Rose Angelucci Ticket Services Head Property Man Linda DeMers Crew Coordinator Jane Hsing-Hui Fu Jane Coe Maja White Stephani Miller Seasonal MUSIC DEPARTMENT Technical Assistant Development Associates Dr. David DiChiera PRODUCTION Music Director Elizabeth Shapiro Roberta Starkweather Assistant Lighting Designer Volunteer Coordinator ARTISTIC ADMINISTRATION Suzanne Acton Dee Dorsey Assistant Music Director, Dianne Lord Jane Westley Production Coordinator Chorus Master Surtitle Operator Development Administrative Assistant Monica Lee Jackson Diane Bredesen Stagehands FINANCE/COMPUTER SERVICES Artist Services Coordinator Orchestra Personnel Manager Local #38, IATSE William T. Schulz Jordeen Ivanov-Ericson Controller Steven Gathman++ *La Boheme Ballet Mistress J.]. Penna+ **Romeo and Juliet Sharon Subjeck James Fairbanks* Lawrence Picard* +La Traviata Accountant Am~ Hutchison+ David Wilson** ++Salome Mary E. Pihajlich An rew Chown++ Repetiteurs Systems Manager Assistant Directors Dianne Lord DETROIT OPERA HOUSE Brett Batterson Nancy Krolikowski Rehearsal Accompanist Facility Manager MARKETINGIPUBLIC RELATIONS Transportation Coordinator Marci Schramm STAGE MANAGEMENT Lary Christiansen Assistant Director of Marketing Pat Lewellen John Kennelly Project Business Manager Audition Volunteer Production Stage Manager Kathleen McNeill Monica Wyatt Public Relations Coordinator COSTUMES Brett Finley* Construction Manager Shelly Gillett-Behrens Ulla Hettinger Garnett BrucN Costume Supervisor John Hinchman Marketing Associate Stage Managers Restoration Supervisor Alice Moss Dee Dorsey* ++ Sand& Prekratic Calvin Williams Mem ership Manager Wardrobe Mistress Laura Lee Everett+ Nicolai S. Jussila+ Facility Maintenance Dolores Tobis Suzanne Hanna Ballet Supervisor Michael H. McCormack** Group Sales Melinda Lane Teter* ++ Assistant Stage Managers Copyright 2010, Michigan Opera Theatre

Ph otographers Jerome Magid Photography Inc. (MOT); Mark J. Mancinelli, MJM Photography (DOHIMOT); Manning Brothers Photography Inc.; Cathleen Martin; B. H. Simms; Benyas - Kaufman Photographers; Dirk Bakker; Ron Scher!; Tom McKenney; Theatre Historical Society - Terry Helgesen Collection; Jerry Dempnock; George McCann; Prasad and Valerie; Lee A. Ekstrom; KenPaul Group; Jack Liang We applaud the Michigan Opera Theatre and we (I are proud to be a part of the restoration of the new D etroit Opera House, scheduled for comple Walbridge Aldinger tion in September. 613 Abbott Street Detroit, MI 48226 313 963-8000 Copyright 2010, Michigan Opera Theatre General Comracrors / Construcrion Managers The Wellness Plan wants you to be well. That's why The Wellness Plan carefully selects the health care professionals who come into our program. And, as participating doctors, we work constantly to keep those standards high.

~~THE WELLNESS PLAN~~

B 1 u e r sky, 8 r e e n e r 8 r ass, c lea n era i r. The sea r eel e men t s we s ee in the ve hie 1 e s we'r e de vel 0 pin 8 a t FOR D MOT 0 R COM PAN Y. L ike the S y nth e sis 20 10. A car whose body is made oj 100% RECYCLABLE aluminum. Which is ju s t as s tron8 as s teel, y et 8entler on the 8a s pump. Today, Ford i s an industry LEADER in aluminum jabrication and RECYCLED plastic s . It 's all part oj our cont inuin8 ejjort to build ENVIRONMENTALLY RESPONSIBLE cars that co mbine even bet t e r J u e le e 0 n om y and H I G H R E C Y C L AB I LIT Y. Web e l i eve t hi s v i s ion a r .1 thinkin8 , powered by the late s t techn o l08Y, wi ll make car s and trucks s aje on the r 0 a dan d the EN V I RON MEN T. W hie h ha s a 1 way s bee n 0 u r 0 r i 8 ina lid e a.

FOR D F ORD T RUCKS LINCOLN MERCURY QU A L I T y I s J o B For more information, co ntact us on the internet at: http://wwwJord.com Copyright 2010, Michigan Opera Theatre LA BOHEME ADDITIONAL CAST Custom House Manager: David Ploof A Little Boy: Mathew Travis

~~ADDITIONAL CHORUS Ernest Willoughby~~

SUPERNUMERARIES Joe Basmaji Beverly Hom Lisa Rowell Mary Basmaji Paul Hom Mary Schorn Freeman Bradley Maria Luisa Guion Wendy Sensoli Emelina Brincat Sandy Kapp Russell Shinn Jeff Cusick Tom Kimmel Alan Sorsher Ana Dan . Diane Lahut Jan Stano Ramona Dandridge Elizabeth Larke Rose Stolk Pat Dillon Christine Lee Larry Thomas Miriam Diogenes Tammy Letourneau Joseph Turinaky Helene Dopierala Sandra Menzel Christine Vanheusden Patricia Espree Gary Moy Todd Walker Jim Floreck Debra Mullins Jim Walsh Fred Florkowski David Piotrowski Tamara Whitley Mary Harkless Kerry Plague Alfred Wilson Jim Harrington Laura Prantner Suzanne Williams Ira Harris Jan Renard

~~A special thanks to Hannony House Classical of Royal Oak for the generous donation of CD's and video cassettes.~~

Please visit the Michigan Opera Theatre Boutique located in the Broadway Lobby. The Boutique, featuring the latest and finest recordings, apparel and Michigan Opera TheatrelDetroit Opera House memorabilia, is open before and after the perfo~ance and during intermissions.

~~------~~~~

~~Tyler Ingram - Paris~~

Corp d' Ballet Corp d' Ballet (Women) (Men) Marie Aversa Mariano Albano Angela Chadwick Alex Brady Melanie Derro Kenneth Easter Sarah Habitz Stephen Hadala Amanda Jesse Melvin M. Jones Jennifer Kaczmarek Todd Jost Kelly Knechtel Jose Sebastian Martinez Christina Kosmos Robert Michalski Cailtin Mundth Seth Miller Katherine Nason Guillermo Ramirez Mary N. Pavlock Joseph Rodgers Kelley Peters Thomas Shoemaker , Gabrielle Roberts Evan Vnks· Robyn Sackeyfio Barend Verschoor

~~Understudies (Women) Jessica L. Kusak Marya Link Lisa Oullette Molly Root~~

Supernumeraries Supernumeraries (Women) (Men) Marya Link Clyde Blanks Lisa Oullette Adam Faber Raegen Riley Rick Goranski Lynn Vecesernyes Pete Gumina Jacqueline Zalewski Richard Hill Melvin Jones Dave Muczinski Joseph Svatora Al Wisnieski

~~Production Staff Artistic Staff Robin Caporuscio, Assistant Stage Manager John Manfredi, Fight Dave Muczinski, Production Assistant Consultant Joanne Weaver, Wigs and Make-up~~

~~Michigan Opera Theatre would like to thank Harmony House Classical Music of Royal Oak for the generous contribution of video cassettes and compact disks.~~

~~DAVID REILLY - the Messenger~~

~~ROBYN SACKEYFIO - Dancer~~

~~KENDALL SPARKS - Dancer~~

~~DMITRI KOROBEINIKOV - Dancer~~

~~MARIE AVERSA - Choreographer Supernumeraries Gary Moy, David Piotrowski, Phillip Seizinger, Todd Walker~~

~~. ' Added Performance, May 23rd AINHOA ARTETA - Violetta Valery JEAN-LUC VIALA -Alfredo Gennont~~

~~Michigan Opera Theatre would like to thank HannonyHouse Classical Music of Royal Oak for the generous contribution of video cassettes and compact discs.~~

ADDITIONAL CAST AND STAFF scan- PI PER - SLAVE/FIRST JEW KARL SCHMI DT - FOURTH JEW DANCERS MINYON PRATI, SHELIKA THOMAS DEBRA TAI1T-CUMBERBATCH S'UPERNUMERARIES MARK BOYNTON - SOLDIER, LINDA CURRY - SERVANT, , PETER GOUGH - ROMAN, DAVI D KI RSCH - PAGE, WI LLiAM KUPSKY - SERVANT, ERI K LARSEN - SERVANT, ALI Mo'l IN - SERVANT, JERRY MCDONNELL - ROMAN, BEN MCKENZI E - EXECUTIONER, STEVEN PEJUAN - SOLDI ER, JIM PALAZZOLO - PILGRIM, JOEY PIRO - PAGE, ENRIQUE REINERS -EGYPTIAN, DAMON ROSENTHAL - SERVANT, BRADLEY STROUD - SOLDIER, LARRY THOMAS - SERVANT, MARK THOMAS - PILGRIM, JOSEPH TURINSKY - PILGRIM, TODD WALKER - ROMAN, DENEAN WILLIAMS - SOLDIER, AL WISNIESKI- GREEK MAN, SALLY WISNIESKI- GREEK WOMAN HENRY WOCJlK - PILGRIM, BOB YOST- PILGRIM, BOB YOUNG - SERVANT MICHIGAN OPERA THEATRE WOULD LI KE TO THANK HARMONY HOUSE CLASSICAL MUSIC OF ROYAL OAK FOR THE GENEROUS CONTRIBUTION OF VIDEO CASSElTES AND COMPACT DISKS.

Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre UNDERWRITE A SEAT ... Put your name on "the best seat in the house." Seat naming opportunities are availab le in every section of the Opera House, from the Upper Balcony at $250 to the Trustee Circle at $25,000. :Your gift will be recognized by a plaque on the seat, so you will receive recognition for your contribution in perpetuity. Gifts may honor you, your company or a loved one.

Legend ~(/~ S---$ werBakmTy 7 $500 Balcony 6 $750 Mezzanine 5 $1,000 Orchestra 4a $2,500 Inner Circle (Last 5 Rows) 4b $5,000 Inner Circle (First 5 Rows) 3 $10,000 Diamond Circle 2 $25,000 Trustee Circle

Buy A BRICK... Set your name "in stone" on the walkway in the Opera House plaza-and be a part oJ history. . When you buy a brick for $100, we will inscribe it with your name, your company or a loved one's name.

MAKE A CONTRIBUTION ... All contributions under $100 will be recognized in the following ways: $75-We will reserve a beautiful rosette plaster paperweight for you to pick up at the Opera House after the theatre opens next spring. The rosette is a recurring motif in the decor of the House and will be a lasting acknowledgement of your support. $50-We will invite you to tour the Opera House at a designated time next year. Below $50-We will give you a token of our appreciation when you visit our Boutique in the new Opera House and present your gift receipt.

Michigan Opera Theatre (MOT) acquired the Grand Circus Theatre, two office towers adjoining the theater, the Roberts Fur Building, the International Art Building and three parking lots for conversion into an opera house/ performing arts complex. The Roberts Fur and International Art buildings have been demolished to make way for the construction of a new 75,000 square foot stage house, lobby and elevator tower. The adjoining office towers are undergoing adaptive reuse into dressing rooms, patron service areas and offices for Michigan Opera Theatre's administration, production and community outreach departments. The historic interior of the Detroit Opera House will be restored to its original 1922 splendor.

The Detroit Opera House serves a regional area that includes Michigan, Northern Ohio and Southern Ontario, Canada. The estimated entertainment population for the Detroit Opera House is over 9 million households.

~~The Detroit Opera House is located in the Theatre District between Broadway & Madison. Ample parking is available il!1ots adjacent to the Opera House.~~

~~Name ______Address ______~~

~~Ci ty/ S tate/Zi p Phone~~

~~Enclosed is my check for $ _____ for: _____ seat(s) in section No. ______brick(s) _____ generaL restoration contribution~~

~~(Gifts of $1,000 and above may be paid over five years.)~~

~~My pledge is for $ ______1st Payment 4th Payment _____ 2nd Payment ______. 5th Payment ______3rd Payment _____~~

~~Pleas~ charge $-- ---to my credit card: o VISA o MasterCard o AMEX Account Nu~ber ------Expiration Date ______Signature __'-- ______~~

~~Please inscribe this name on the seat plaque/ brick:~~

~~o My company will match this contribution~~

~~Return to: Detroit Opera House Campaign Michigan Opera Theatre 104 Lothrop Detroit, Michigan 48202~~

Participate in the $24 million campaign to restore the Detroit Opera House-the world's newest cultural jewel! This beautifully restored theatre win provide you a glorious home for the enjoyment of opera, ballet and music theatre on a grand sc e here in the city of Detroit.

Be a part of MOT's celebration as we inaugurate our 25th Anniversary Season in the new Opera House next April. You can get involved by underwriting a seat, buying a brick or making a contribution to help with the restoration. What ever you decide, your gift helps make our dream a reality.

~~Join the growing number of supporters who have already~~

contributed to this exciting project. Enthusiasm is wide- I spread. In fact, we were awarded a $12 million challenge grant by the Kresge Foundation to help with the renovation. 'WE MUST MATCH THIS GRANT WITH $7-5 MIlLlON. We are halfway toward reaching that goal and hope you will want to help us meet the challenge .

~~Michigan Opera Theatre 104 Lothrop Detroit, Michigan 48202~~