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2007-2008 Season


Page 1: Minnesota Opera's Rusalka Program
Page 2: Minnesota Opera's Rusalka Program

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Page 4: Minnesota Opera's Rusalka Program
Page 5: Minnesota Opera's Rusalka Program





The Minnesota Opera

President & CEO Kevin SmithArtistic Director Dale Johnson

Chair, Board of Directors Jane M. Confer

The Minnesota Opera, 620 North First Street Minneapolis, MN 55401 612-333-2700


The Minnesota Opera is a member of OPERA America.

The Minnesota Opera Programis published by

Corporate Administrator/Publisher Todd HydeAssoc. Publisher/Director of Production Marsha Kitchel

Advertising Account Executives Liesl Hyde, Amy NewtonCreative Designer Susan SchwegmanGraphic Designer Sue Sentyrz Klapmeier

This activity is made possible in part by a grant provided by the Minnesota State ArtsBoard through an appropriation by the Minnesota State Legislature. This project is

supported in part by a grant from the National Endowment for the Arts.

April 2008

Large-print and Braille programs are available at the Patron Services Office

The Minnesota Opera Staff and Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . 6Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Rusalka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Antonín Dvorák . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Out at the Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15The Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16The Minnesota Opera Chorus and Orchestra and ARENA Dances . . . . . . . . 20General/Chorus Auditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Why Subscribers Have More Fun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Education at the Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Tempo (the new Young Professionals Group) . . . . . . . . . . . . . . . . . . . . . 24The 2008-2009 Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

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Welcome to today’s production of Rusalka. Formore than four decades, The Minnesota Operahas enriched the cultural life of our communityby producing outstanding and innovative operasthat inspire and entertain.

U.S. Bank is honored to sponsor the 2007 –2008 season. We are proud of our 20+ yearrelationship with The Minnesota Opera and thespectacular Ordway Center in St. Paul.

At U.S. Bank, we support great dreams, great art and great arts organizations. They enrich thecommunity with vibrancy, creativity and excellence. As the sixth largest bank in Americatoday, U.S. Bank is the only major bank headquartered in Minnesota, and we’re deeplycommitted to giving back to this community.

Thank you for coming and enjoy the performance!

Jose Peris, Senior Vice President, Private Banking Regional Manager, U.S. Bank Private Client Group

President & CEO Kevin SmithArtistic Director Dale Johnson

ArtisticArtistic Administrator . . . .Roxanne Stou∂er CruzArtist Relations and

Planning Director . . . . . Floyd AndersonDramaturg . . . . . . . . . . . . . . . . David SanderPrincipal Conductor-in-Residence

. . . . . . . . . . . . . . . . . . . . . . .Robert WoodAssociate Conductor-in-Residence

. . . . . . . . . . . . . . . . . . .Andrew AltenbachResident Artists . . . . . . . . . .Kyle Albertson,

Alison Bates, John David Boehr,Andrea Coleman, Christin-Marie Hill,

Christopher Job, Bryan Lemke,Jamison Livsey, Bill Murray,

Christian ReinertRAP Faculty . . . .Nancy Boler, Dorothy Byrne

Carlotta Dradi-Bower, Mary Dibbern, Barbara Kierig, Doug Schulz-Carlson

Master Coach . . . . . . . . . .Mary Jo Gothmann

EducationCommunity Education Director . . . . . . . . . . . . . . . . . .Jamie AndrewsTeaching Artist . . . . . . . . . . .Vicki FingalsonProject Opera Music Director . . . . Dale KruseProject Opera Accompanist . . . .Kathy Kraulik

ProductionProduction Director . . . . . . . Kevin RamachProduction Stage Manager . . . . . Alex FarinoAssistant Stage Managers . . . . .Casey Martin,

Angie SpencerProduction Administrative

Assistant. . . . . . . . . . . . . Katherine Cattrysse

CostumesCostume Shop Manager . . . . .Erica M. BurdsAssistant Costume Shop Manager . . .Beth SandersWardrobe Supervisor . . . . . . Emily RosenmeierDrapers . . . . . .Chris Bur, Emily Rosenmeier,

Yancey Thrift, Angela Yarbrough Dyer/Painter . . . . . . . . . . . . .Marliss JensonAssistant Dyer/Painter . . . .Kathleen SullivanCostume Technicians . . . . .Helen Ammann,

Jennifer Dawson, Mary Farrell, Rose Ryan, Lindsey Strange

Wig/Makeup Assistants . . . .Andrea Moriarity-Dahlberg, Jodi Stone

SceneryTechnical Director . . . . . . Mike McQuistonProperties Master . . . . Stanley D. HawthorneProperties Assistant . . . . . . . . . . Mike LongLighting Coordinator . . . . Charles D. CraunProduction Carpenter . . . . . . . . . . JC AmelScene Shop Foreman. . . . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . . .Steven RovieCarpenters. . . . Eric Veldey, Nate Kulenkamp,

Jim DePaulis, Jeff BorowiakCharge Painter . . . . . . . . . Kevin NoteboomProjection Programmer . . . . . Ruppert Bohle

AdministrationFinance Director . . . . . . . . . . . . Je∂ CoutureOperations/Systems

Manager . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . . . Jennifer ThillExecutive Assistant . . . . . . . . Theresa MurrayFinance Assistant . . . . . . . . . . . . . . . .Libby JonesIT Applications Specialist . . . . . .Jessica Wright

Institutional AdvancementVice President of Institutional

Advancement . . . . . . . . . . . .Patrick DewaneInstitutional Advancement

Manager . . . . . . . . . . . . . .Kelly Clemens

DevelopmentAnnual Fund Director . . . . . . .Dawn LovenGrants Manager . . . . . . . . . .Beth ComeauxDonor Events and

Gala Manager . . . . . . . . . .Emily SkoblikIndividual Gifts Manager . . . .Morgan Walsh

Marketing/CommunicationsMarketing and Communications

Director . . . . . . . . . . . . . . . . .Lani WillisMarketing Operations

Manager . . . . . . . . . . . . . Marsha WalkerAudience Development Associate . . . Jamie NiemanTicket O∑ce Manager . . . . Katherine CastilleTicketing and Communications

Associate . . . . . . . . . . Robert C. SchmidtTicket O∑ce Assistants . . . . . .Kristen Bond,

Kevin Beckey, Alexandrea Kouame, Jane Samsal

Marketing Intern . . . . . . . . . . . .Julie Behr

The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera. If youwould like to learn more about volunteering for The Minnesota Opera, please contact Jamie Nieman by phone at612-342-9550 or via email at [email protected].

Catherine AhernAnn AlbertsonGerald BensonJim BrownbackJerry CassidyDiane ChoihJoann CierniakSusan CoggerCaroline CoopersmithBeverly DaileyDenis DaileyJeanette DaunJudith DuncanSally EconomonChristopher FosterHazel FrancoisLi-Jun FuJane FullerJoan Gacki

Christine A. GarnerMary E. HagenMerle J. HansonAnne HesselrothHeather HuberKaren JohnsonNancy JohnsonSteve JohnsonJeannie JohnstonKristen JohnstonRobin KeckDawn KlassenEleanore KolarLucinda LamontShirley LarsonMathilda LienJerry LillquistJoyce LillquistMargery Martin

Joan MasuckYasuko MatsumotoMary McDiarmidBeth McGuireVerne MelbergJeanette MiddletonBarbara MooreDoug MyhraPam NielsenCandyce OsterkampDan PanshinPat PanshinMegan PelkaBill PhillipsSydney PhillipsJulia PorterCarol PurvisKathleen RileyEnrique Rotstein

John SauerLynette SaucierMichael SilhavyWendy SilhavyAngie SolomonWendi SottNaomi St. GregoryKaren St. JohnHarry SwepstonDave TerwilligerEmily ThompsonDoris UngerStacey VonderhearCarolyn WahteraSandy WalkerMary WeitzBarbara Willis

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Page 7: Minnesota Opera's Rusalka Program

We’re glad you’rehere to see Rusalka.Many of you maybe new to theOpera, and I’d liketo give you aspecial welcome!Whether this is

your first time at the Opera or yourhundredth, we invite you to subscribeto the exciting 2008-2009 seasonDale describes above. It’s not as hardas you might think …

Many newcomers to opera believethat the art form is too expensive,but we lowered our prices and nowoffer a $20 ticket. We also have 3-and 4-opera season ticket packagesthat start at just $50. And subscribershave greater flexibility than singleticket buyers with new exchangepolicies allowing them to trade in

tickets for any other show during theseason. We hope we have removedany barriers you had to subscribing,and if we have not, we hope you letus know what barriers remain.

A national study by OPERA Americaindicates that people come to theopera most often when invited byothers. If you enjoy your experiencetoday at the Opera, please introduceus to your friends and invite them tojoin you next season as a subscriber.

Enjoy the performance.

Kevin SmithPresident and CEO

Welcome to today’sperformance ofDvorák’s poignantlylyrical masterpiece,Rusalka! Our leadinglady is Minnesota’sown Kelly Kaduce(who can forget her

Rosasharn in last year’s The Grapes ofWrath?). Her prince is played by thestunning tenor Brandon Jovanovich,last seen here in our 2001 productionof Street Scene. Academy Award-winningdirector Eric Simonson, set designerErhard Rom and costume designerKärin Kopischke have created a beautifulsetting for the clash of nature and thehuman world. Visit mnopera.org for a video presentation by Eric on theproduction’s designs.

You will only need to wait a few shortmonths for the 2008-2009 operaseason, which begins on September 20

with Verdi’s dramatic thriller, Il trovatore(The troubadour). The rest of the lineupof world-class opera experiences includesMozart’s comedy, The Abduction fromthe Seraglio, set on the Orient Express;a new production of Gounod’s Faust,directed by Doug Varone; the Americanpremiere of The Adventures of Pinocchio,an opera for the whole family byJonathan Dove; and Rossini’s boisterousBel Canto comedy, The Barber of Seville.You won’t want to miss any of them,so please visit the ticket office duringthe first intermission and purchaseyour season tickets today! Thank youfor being here today, and I hope youenjoy Rusalka.

Dale JohnsonArtistic Director





BOARD OF DirectorsFROM THE Artistic Director

FROM THE President

OfficersJane M. Confer, Chair

Chip Emery, Vice ChairDebra Paterson, SecretaryDenver Gilliand, Treasurer

Kevin Smith, President & CEO


EmeritiKaren BachmanBurton Cohen

Julia W. DaytonThomas R. McBurney

Mary W. Vaughan

Honorary DirectorsDominick Argento

Philip BrunelleElizabeth CloseDolly Fiterman

Charles C. FullmerNorton M. Hintz

Liz KochirasPatricia H. Sheppard

Legal CounselJames A. Rubenstein, Moss & BarnettThe Minnesota Opera is proud to be a member of The Arts Partnership with The Saint Paul

Chamber Orchestra, The Schubert Club and Ordway Center for the Performing Arts.

Martha Goldberg AronsonWendy BennettCharles E. BergJ. A. Blanchard IIIShari BoehnenSusan S. BorenKathleen CallahanNicky B. CarpenterRichard P. CarrollRachelle D. ChaseMary A. DearingSara DonaldsonSteve FoxSharon HawkinsRuth S. HussPhilip Isaacson

Lucy Rosenberry JonesB. John LindahlDiana E. MurphyBrian E. PalmerJodi D. PetersonMary Ingebrand PohladStephanie J. PremElizabeth RedleafConnie RemeleStephanie SimonPeter W. SipkinsSimon StevensMitchell StoverVirginia StringerH. Bernt von Ohlen

Page 8: Minnesota Opera's Rusalka Program


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Imagine the world without music and dance, or literature and art. Life is

incomplete without ways to express ourselves, and to discover who we are

and what we can be. That’s why Northern Trust proudly supports the arts in

its many diverse forms.

Northern Trust has been helping clients meet their financial needs for

more than 118 years.


Tom Smith, President & CEO – Minnesota • 612-336-7020

1600 IDS Center • Minneapolis

Page 9: Minnesota Opera's Rusalka Program




APRIL 12, 15, 17, 19, & 20 The Minnesota Opera presents Rusalka by Antonín Dvorák

WED, APRIL 23, 8PM The Schubert Club presentsInternational Artist Series Bryn Terfel, bass baritone

APRIL 24, 26, 8PM The Saint Paul Chamber Orchestra presentsDawn Upshaw Sings SchubertDouglas Boyd, conductorDawn Upshaw, soprano


MAY 2 – MAY 18 Ordway Center Theater Seasonpresents CABARETBehind the doors of the notorious Kit Kat Klub, painted ladies (and painted gentlemen) sing and dance as though life were an endless party.

FRI, MAY 23, 10:30AM; MAY 23-24, 8PM The Saint Paul Chamber Orchestra presentsBeethoven’s Triple ConcertoPierre-Laurent Aimard, conductor and pianoRuggero Allifranchini, violinRonald Thomas, cello

SAT, MAY 31 – SUN, JUNE 1Ordway Center presentsFlint Hills International Children’s FestivalOrdway Center comes alive with the best of international performance, families creating art, international cuisine, singing and dancing, and much more.

JUNE 10 - 15, 5PMplanet Ordway® Target® Season presents STOMP An irresistible movement of bodies, objects, sounds, and ideas.




Page 10: Minnesota Opera's Rusalka Program











The appearances of Kelly Kaduce, winner; Alison Bates, national semifinalist;Kyle Albertson, regional finalist; and John David Boehr and Brandon Jovanovich,district finalists of the Metropolitan Opera National Council Auditions, are madepossible through a Minnesota Opera Endowment Fund established for ArtistEnhancement by Barbara White Bemis.

The appearances of Kyle Albertson, Alison Bates, John David Boehr, AndreaColeman, Christin-Marie Hill, Christopher Job and Christian Reinert are madepossible by the Virginia L. Stringer Endowment Fund for The Minnesota OperaResident Artist Program.

Performances of Rusalka are being taped for delayed broadcast on Minnesota Public Radio, KSJN 99.5 in the Twin Cities.

The Minnesota Opera season is sponsored by FAF Advisors and U.S. Bank.

The appearances of the 2007–2008 seasonconductors are underwritten by SpencerStuart.

Opera Insights is sponsored by Thrivent Financial for Lutherans.

Music by Antonín DvorákLibretto by Jaroslav Kvapilafter Undine by Friedrich de la Motte FouquéWorld premiere at the National Theater, PragueMarch 31, 1901

April 12, 15, 17, 19 and 20, 2008Ordway Center for the Performing Arts

Sung in Czech with English translations

Conductor................................................Robert WoodStage Director.........................................Eric SimonsonChoreograper ...................................Mathew JanczewskiSet Designer..............................................Erhard RomCostume Designer .................................Kärin KopischkeLighting Designer ...................................Robert WierzelProjections Designer......................Wendall K. HarringtonWig and Makeup Design ........Jason Allen and Ronell OliveriAssistant Director ........................................Bill MurrayChorus Preparation .............................Andrew AltenbachProduction Stage Manager .....................Alexander FarinoCzech Diction Coach ...................................Milan Mader

THE CASTRusalka, a water nymph .............................Kelly KaduceThe Prince ......................................Brandon JovanovichVodnik, a water gnome ..........................Robert PomakovJezibaba, a witch....................................Dorothy Byrne*

Christin-Marie Hill**

A foreign princess ......................................Alison BatesA hunter ............................................John David BoehrThree dryads ................Karin Wolverton, Andrea Coleman,

Katherine HaugenDancers ................................................ARENA Dances

Wood nymphs, water sprites, hunters, guests at the castle, servants

Setting: A meadow by a lake and the grounds of a castle* performs April 12, 15, 17, 19

** performs April 20

Rusalka is a coproduction between The Minnesota Opera and Boston Lyric Opera.

By arrangement with Boosey & Hawkes, Inc., agent in the USA for DILIA Theatrical Agency, Czech Republic, publisher.

Fantasy and folklore have always tweaked the operaticimagination and remain an integral part of the artform’s dramaturgy to this day. Spawning out of the

ennui of dilatory French aristocrats, fairy tales were realizedon the musical stage as early as the 18th century, withAndré-Ernest-Modeste Grétry’s Zémire et Azor (1771; basedon Beauty and the Beast) and Nicholas Isouard’s Cendrillon[1810; more famously to become Rossini’s La Cenerentola(Cinderella; 1817)] all the way into the early 21st century,with the American premiere of Jonathan Dove’s TheAdventures of Pinocchio by The Minnesota Opera in 2009.Frenchman Charles Perrault was a master raconteur, but bythe early 19th century, his flights of fancy faced some verystiff competition, albeit with a more sinister tone, where“happily ever after” often remains inconclusive. TheGerman Romantics, most notably Wilhelm and JacobGrimm and E.T.A. Hoffmann, began to mix superstitionwith fact, and soon witches, ghosts and wizards [as seen inGiuseppe Verdi’s Macbeth (1847); Engelbert Humperdinck’sHänsel und Gretel (1893); Richard Wagner’s Der fliegendeHolländer (1843) and Parsifal (1882); Ambroise Thomas’Hamlet (1868); Jacques Offenbach’s The Tales of Hoffmann(1881); Benjamin Britten’s The Turn of the Screw (1954)],vampires [Nicolas Brazier’s Les trois vampires (1820);Heinrich Marschner’s Der Vampyr (1828); Peter Joseph von Lindpaintner’s Der Vampyr (1828)] and even the devilbegan to make their presence known [among the countlessexamples include Louis Spohr’s Faust (1816); Carl Mariavon Weber’s Der Freischütz (1821); Daniel Auber’s Robert lediable (1831); Charles Gounod’s Faust (1859); ArrigoBoito’s Mefistofele (1868); Ferruccio Busoni’s Doktor Faust(1925)]. The creative mind of the Romantic period wasobsessed with the cruel, violent and macabre side of nature

BACKGROUND Notesby David Sander

Page 11: Minnesota Opera's Rusalka Program

and asserted the merits of imagination and peculiarity ofphantasm. Though the traditional tales would survive inthe repertoire [examples here include Weber’s Oberon(1828); Marschner’s Han Heiling (1833); Wagner’s Die Feen (1883); Jules Massenet’s Cendrillon (1899) andGriséldis (1901), Nikolay Rimsky-Korsakov’s Le coq d’or(The Golden Cockerel; 1909), both Busoni and GiacomoPuccini’s Turandot (1917and 1926); WilliamShakespeare’s fairy-baseddramas A MidsummerNight’s Dream and The Tempest in severalinterpretations; IgorStravinsky’s Le rossignol(1914); Richard Strauss’Die Frau ohne Schatten(1919), to name a few],now frightful andfantastic stories of lorewere fair game.Symbolist literaturefollowed suit, with poetryby Maurice Maeterlinck(to be set by ClaudeDebussy as Pélleas etMélisande (1902) and Paul Dukas as Ariane et Barbe-Bleu(Ariane and Bluebeard; 1918) as well as hauntinglybeautiful paintings by artists Gustave Moreau and OdilonRedon (though they would revert to ancient Greekfolklore, better known as “mythology,” and oral traditionshanded down many generations that would eventuallycomprise the Old Testament) and the English Pre-RaphaelitesJohn William Waterhouse and Edward Burne-Jones (the Victorians had an especially curious interest in thesupernatural and the occult).

Water mythology was of special interest, particularly inthe struggle between the real and spiritual worlds. Everyculture had its parasitic and life-draining, yet sexy andemasculating, femme fatales, a sorority of beautiful young

women in league with some greater pernicious force – theGreek nymphs and sirens, the Scottish banshee, theGerman lorelei and Rheinnixen (immortalized by JacquesOffenbach and Richard Wagner), France’s Celtic Mélusineand Eastern Europe’s rusalki. Whether jilted lovers,victims of suicide, unbaptized souls or the unclean dead,all of these menacing incarnations seemed to have the same

modus operandi – to lureunsuspecting victimsinto the woods (alwaysa perilous locale) for theprincipal purpose ofdrowning them [incontrast to their land-based cousins, thevilis, immortalized byHeinrich Heine andbrought to life inPuccini’s Le villi(1884) and AdolpheAdam’s ballet Giselle(1841), who cause theirex-paramours to danceuntil they collapse deadfrom exhaustion – did Imention the forest was

a scary place?]. The Slavic and Russian vodyanoi covered allwater-borne creatures – one legend purported that, should a maiden drown, she became a rusalka and thereby wasdestined to reside in the waters where she perished. Othersclaim rusalki actually had been murdered by their loversand sought eternal revenge. Much like the Greek sirens,the lorelei are Rhenish mermaids who sweetly sing on theedge of waterways, enticing sailors ever closer until theycrash their boats on the rocks. Similarly, the Rheinnixenlure men into their watery embrace and ultimately totheir victims’ demise, while the tradition of Mélusineinvolves a nymph who marries a man who can’t keep hispromise and eventually discovers her secret identity,causing her to flee and never return. �

Listen! Listen! It is me, Ondine, who brusheswaterdrops against your resonant window panes,illuminated by the moonlight’s gloom; and here, in hershimmering gown, stands the lady of the castle on thebalcony, contemplating the beautiful star-lit night andthe quiet lake below.

Each wave is a water nymph swimming in the current,and every current is a path winding to my palace, andmy palace is fluid, at the bottom of the lake enclosed bythe trinity formed by fire, earth and air.

Listen! Listen! My father strikes the restless waterwith a green branch, and my sisters caress with their

foamy arms cool islands of grasses, water lilies andgladiolas … or do they mock the lazy willow tree whoselimbs bend like fishing lines?

With murmuring song, she implores me to receive herring on my finger, to be the husband of a water nymph,and visit her palace to become king of the lakes.

And when I told her I was in love with a mortal woman,she was sullen and spiteful. She shed a few tears, thenbroke into laughter, vanishing into a sudden shower ofwhite drops that streaked my windows’ blue glass.

– Gaspard de la nuit, Aloysius Bertrand (1842)





The Naiad, 1893 (Hylas with a nymph) by John William Waterhouse (1849-1917)© Roy Miles Fine Paintings/The Bridgeman Art LibraryNationality/copyright status: English/out of copyright


Page 12: Minnesota Opera's Rusalka Program











Though the story of malevolent water nymphs would beset as a Singspiel early in 1798 as Das Donauweibchen (Womenof the Danube) by Ferdinand Kauer (at Vienna’s Theater inder Leopoldstadt, one of Magic Flute librettist EmanuelSchkineder’s main rivals), the sprightly Undine, definedsimply as a “water nymph,” would soon capture the Germanpsyche, most notably in a novel by Friedrich de la MotteFouqué, first published in 1811 (both Edgar Allen Poe andSir Walter Scott would become his admirers – Scott, inparticular, loved to include frightfulsubplots in his writings). A slew ofstaged works followed, including thoseby Hoffmann (1816), Cesare Pugni (1844)and Albert Lortzing (1845). TravelingDanish author Hans Christian Andersenlatched on to the craze and wrote Den lilleHavfrue (The Little Mermaid; 1836) uponMotte Fouqué’s inspiration. Farther east,the Russians would also plunder theselegends. Based on texts by AlexanderPushkin (Rusalka; 1832) and NikolaiGogol [Mayskaya noch’ (May Night; 1831)],Alexander Dargomïzhsky (Rusalka; 1856),Pyotr Il’yich Tchaikovsky (Undina; 1870)and Rimsky-Korsakov (Mayskaya noch’;1880) composed operas on the subject.Undine/Ondine continued to fascinateartists well into the 20th century, givingimpetus to a piano piece by Maurice Ravel(part of Gaspard de la nuit; 1908), a balletby Hans Werner Henze (1958) and a playby Jean Giraudoux (1939; to be set as anopera by Daniel Lesur in 1982).

So a definite trend had been in place bythe time Antonín Dvorák came about towriting his penultimate opera. He was nostranger to the spectral world. Drawn fromthe folk ballads of Karel Jaromír Erben,the symphonic poems dating from thisperiod carry eerily evocative titles such asThe Noon Witch, The Water Goblin, The WildDove and The Golden Spinning Wheel, anddetail ghastly acts of dismemberment andmassacre. His most recent opera to date,Cert a Káca (The Devil and Kate; 1899), aloose adaptation of The Taming of the Shrew(whose female title character shares acommon name with Shakespeare’s spitfireleading lady) has his calamitous harpyspend some time with Lucifer down inhell. Dvorák’s final opera Armida (1904) also involvesmagical forces at play [somewhat predating the fairy talevogue, the subject was derived from Torquato Tasso’s16th-century epic poem Orlando furioso and worked into alibretto by Jean-Baptiste Lully-librettist Philippe Quinault;

it would be set by numerous 18th-century opera seriacomposers, namely George Frideric Handel (as Rinaldo;1711), Carl Heinrich Graun (1751), Tommaso Traetta(1761), Antonio Salieri (1771), Christoph WillibaldGluck (1777), Franz Joseph Haydn (1784), and later, by Rossini in 1817].

A young librettist yet to prove himself, Jaroslav Kvapilmust have been delighted when Dvorák accepted his textfor Rusalka after three other composers had turned him

down. On its face, the narrative appearsto be the classic by Andersen (albeitof a much darker vein) where thetemporarily fishtailed heroine saves,falls in love with and then is abandonedby a nameless prince. Not quiteDisney, Andersen’s version incorporatessome gruesome details à la BrothersGrimm – the mermaid’s tongue is cutout as payment for her transformation;the conversion from webbing to legsis hardly painless; and the new youngwoman must endure the equivalent of“walking on knives so sharp your bloodmust flow.” The price of returning toher former self is the Prince’s blood,drawn after she plunges a dagger intohis heart. Andersen’s mermaid is anestranged outsider, vainly hoping foracceptance within civilized society, andher plight emphasizes the impossibilityof a melding between the natural andthe otherworldly – as a result, she optsfor self-sacrifice rather than murder.Kvapil credits another menacing tale,Gerhart Hauptmann’s Die versunkeneGlocke (The Sunken Bell), which alsoemploys a witch, a gnome and an ill-fated romance ending with thedeath of a male protagonist (treatedoperatically by Ottorino Respighi in 1927).

Motte Fouqué’s work draws a closerparallel to Dvorák’s opera, yet there aresignificant differences between the tworenderings. Having lost their daughterwhen she was swept out to sea, an oldfisherman and his wife accept theresponsibility of a mysterious younggirl (Undine) who unexpectedly showsup – damp – on their doorstep. She

grows up to become a headstrong young temptress,accepting the affections of a brave knight, Huldbrand.He brings her back to court with the intention of marryingher. Undine befriends Bertalda, the supposed offspring ofthe duke and duchess, who was tentatively pursuing a



Sir Edward Burne-JonesThe Depths of the Sea (1887)Watercolor and gouache on wove paper mounted on panel; other; primarysupport (primary support): 194.5 x 746 cm (76 9/16 x 293 11/16 in.)197 x 76 cm (77 9/16 x 29 15/16 in.)Harvard University Art Museums, Fogg Art Museum, Bequest of Grenville L. Winthrop, 1943.462Photo: Katya Kallsen © President and Fellows of Harvard College

Page 13: Minnesota Opera's Rusalka Program


A glade at the edge of a lake deep within the forest Three dryads playfullytease Vodnik as he tries to catch one of them. His daughter Rusalkatells of her sadness – she wishes to be mortal in order to pursue herlove for a princely young man who swims in the lake. Vodnik triesto dissuade her, for he only sees doom in the world of humans,but she will not be deterred. She prays to the moon, hoping thePrince may return her affection.

Rusalka visits Jezibaba, an old sorceress who is willing to help.The witch has the necessary potion, but it has one side-effect – oncetransformed, Rusalka will no longer be able to speak. If she shouldnot find lasting love in the corporeal world, she will be forced towalk through life accursed. Rusalka bravely drinks the magic philter.

As dawn breaks, a hunting party is in pursuit of game. Theunsuccessful predators retire, but the Prince remains behind,

magically drawn to the lake. MeetingRusalka for the first time, he

immediately falls in love.







The castle grounds As a celebration takes place inside the manor,Rusalka enters with the Prince who is puzzled by her continuedsilence and her sad disposition. Still enthralled, he vows to betterunderstand his future bride once they are wed. One of the guests,an alluring foreign Princess, reproaches the Prince for ignoring the festivities. The Princess lightly mocks Rusalka’s speechlessness,quietly enraging the former nymph, as she shamelessly escortsthe Prince to the party inside. Vodnik consoles his pitiful

daughter as she watches the Princess successfully entice the Prince with her beauty.



A glade at the edge of the lake Tearfully, Rusalka has returned to the forest, ready to forsake humankind. Jezibaba agrees toswitch Rusalka back to her original state, but as a result, herlover may never return, lest he die from her embrace. Thewitch even offers a knife so that she may kill the Princeand cleanse herself of his mortal stain, but Rusalkarefuses and returns to the lake.

The dryads again try to play with Vodnik, but he sadly admits that their carefree world has beenmarred by the taint of mankind.

The Prince feverishly searches the woods for his lostlove, and in a dreamlike state, Rusalka hauntingly appearsbefore him. She scorns his renewed affection and cautionsthat his fate will be sealed with just one touch. Ignoring herwarning, the Prince kisses Rusalka, then dies in her arms.

Costume sketches by Kärin Kopischke

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ANTONÍN Dvorákb Nelahozeves (Bohemia), September 8, 1841; d Prague, May 1, 1904

Mostly known for hissymphonies, concerti andchamber works, Antonín

Dvorák composed 10 operas, an artform he once declared to be hispreferred genre. Born to humblepeasant stock, Dvorák barely escapedoblivion when he was sent to livewith his aunt and uncle at the ageof 12. There he fostered an interestin music, becoming adept on anumber of instruments andgraduating from Prague’s School ofOrgan in 1859. He joined a bandof local players, which eventuallybecame the pit orchestra of thecity’s new Provisional Theater threeyears later. In 1863, he had theopportunity to play a concert ofWagner’s music, with the greatcomposer himself conducting, andwas influenced as a result. A violistfor almost a decade, Dvorák wouldbe exposed to a wide variety ofoperatic styles during this period,including works by GioachinoRossini, Giuseppe Verdi, GiacomoMeyerbeer, Charles Gounod,Jacques Offenbach and Carl Mariavon Weber.

At that time, the notion of operain Czech was in its infancy (as thetransitory word “provisional” inthe theater’s title would seem toindicate). Then part of the AustrianEmpire, Bohemia was required touse German as its official language.Only by the middle of the centurywere major works being performedin Czech. The leader of the movementwas the theater’s director, BedrichSmetana, whose operas began todefine a national style. Othercomposers of note included KarelSebor, Karel Bendl, RichardRozksny, Voitech Hrimaly, ZdendekFibich, Karel Kovarovic, OtakarOstrcil, Vítezslav Novak, JosefBohuslav Foerster, and most notably, Leos Janácek.

Not willing to succumb to thispatriotic fervor, Dvorák was strangelyout-of-pace with his contemporaries,often choosing subjects and locales far

from his native lands. His first opera,Alfred (1870/1938; set to Germantext) tells the struggle betweenEngland’s Alfred the Great and theinvading Danes. Vanda (1876),written in the style of French GrandOpera, is set among Polish royalty,

and the equally epic Dimitrij (1882)plays out in the Russian court, a sortof sequel to Boris Godunov. Jakobin(1889), though taking place inBohemia, has its undercurrents in the rhetoric of the French Revolutionand the tried-and-true theme ofArmida (1904) is set during theMedieval Crusades. Even Rusalka’swispy milieu is indeterminate.Coupled with charges of excessiveWagnerism, Dvorák was one to stepto his own tune.

Written by a composer with a rich musical palette underlyingproblematic texts (unfortunately, he was not a strong dramatist),Dvorák’s operas were met with mixedreviews and are seldom produced

beyond the Czech border. His famechiefly rests on his orchestral works,which after a few false starts, hebegan to tour around Europe. In1891, he was invited by JeanetteThurber (founder of the ill-fatedAmerican Opera Company, a brief rival to the newly openedMetropolitan Opera) to become thedirector of the National Conservatory of Music, a three-year commitmentwith generous summer breaks.Rather than returning to Prague,Dvorák spent his first vacation inCzech-populated Spillville, Iowa. A great lover of trains, the composertook many short trips around theUpper Midwest, including one toMinneapolis for a visit to MinnehahaFalls while considering a setting ofHenry Wadsworth Longfellow’s Song of Hiawatha. From this periodcomes one of his most popularworks, the Symphony No. 9 “From the New World,” as well as severalother regionally-inspired pieces such as the two string quartets (in F and E-flat), both titled the“American,” and the famous CelloConcerto in B minor.

Toward the end of his life, Dvorákturned away from “abstract” musicto more programmatic works. Rusalkadates from this period as does Armida,his final opera. Sadly, the composerdied within months of its controversialpremiere, unable to defend its meritsor revise accordingly.

Antonín Dvorák, circa 1900Bildarchiv Preussischer Kulturbesitz/Art Resource, NY

So long as the Lord givesme health, I wish to devotemy powers to the writing ofopera. Not for a desire forpersonal glory, but becauseI believe it to be the best artform for our nation.

— Antonín Dvorák

Page 15: Minnesota Opera's Rusalka Program

love affair with Huldbrand beforehe left. Bertalda manages toensnare her man, but not beforebeing exposed – she is really ofpeasant stock, the longtimemissing daughter of the fisherman. A malicious water sprite and ahermit priest add grotesquetouches to the story as does thefinal scene – at the weddingceremony, Undine’s unearthlypowers are revealed when shemysteriously appears, kissesHuldbrand to death and vanishesinto the waters.

Kvapil draws freely from all thesestories, adding depth to the witchJezibaba (her character only slightlymore pleasant than her Andersencounterpart) and improving thedisposition of the water gnome, whobecomes a wise and loving father toRusalka and a solemn commentatoron humanity’s destructive nature.Keeping in line with an abstractionakin to the fairy tale, no one has aproper name (Rusalka, Vodnik andJezibaba all being types of creaturesin Czech folklore). The inclusion ofthe Turnspit and Gamekeeper (cutin this production) give comic relief,grounding the opera with rusticcharm, and in traditional stagings,sharply distinguish the normal andfantastical dominions. The additionof the ballet in the party scene,while a requisite of Czech opera atthe time, further stresses Rusalka’salienation from the mortal world.

Hugely popular in Czechoslovakiasince the day of its premiere,Rusalka was slow to catch onelsewhere, waiting nine yearsbefore a foreign staging could takeplace in Vienna. Even today, it isinfrequently produced in the

United States, having appeared atonly a handful of major companiesover the past two decades. With itsluscious orchestration, shimmeringand heartfelt melodies, through-composed urgency, leitmotif characterportrayals and harmony reminiscentof Wagner, the opera accentuatesthe lyricism of silence through itswistful title character. Rusalka’sdeathblow caress becomes asromantic as a kiss when she learnstoo late the tragic consequences ofthat classic adage – be careful forwhat you wish. �





Act I – set design by Erhard Rom

… as she threw back her veil, herdear face met his view, smilingwith celestial beauty. Tremblingwith love and the awe ofapproaching death, the knightstooped to give and receive theembrace. She kissed him with theholy kiss of Heaven; but sherelaxed not her hold, pressing himmore passionately in her arms,and weeping as if she would weepaway her soul. Tears rushed intothe knight’s eyes. A thrill both ofbliss and agony shot through hisheart, until he at last expired,sinking softly back from her fairarms, and resting upon the pillowof his couch, a corpse.

“I have wept him to death!”said she to some domestics, whomet her in the anti-chamber; andpassing through the terrifiedgroup, she went slowly out anddisappeared in the fountain.

— Undine, Friedrich de la Motte Fouqué (1811)


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THE Artists For more biographical information about these artists,visit our website at www.mnopera.org

John David BoehrHunterMinnesota Opera Resident ArtistRecentlyA Masked Ball; Romeo and Juliet; King Croesus, Minn. OperaTrinity, Santa Fe OperaL’Ormindo, Pittsburgh Opera CenterTosca; Don Pasquale; La Cenerentola, Palm Beach OperaDie Zauberflöte; Barnum’s Bird; L’elisir d’amore;

Così fan tutte, Baylor Opera TheaterDon Giovanni, Tanglewood Music FestivalUpcomingPinocchio; The Barber of Seville, The Minnesota Opera

Alison BatesForeign Princess

Minnesota Opera Resident ArtistRecently

Gianni Schicchi; The Gondoliers; Tosca, Chautauqua OperaRomeo and Juliet; The Italian Girl in Algiers; Lakmé; TheTales of Hoffmann; La donna del lago; Don Giovanni;Joseph Merrick, the Elephant Man, Minnesota Opera

A View from the Bridge; Abduction from the Seraglio; LittleWomen; Giulio Cesare, Indiana Univ. Opera Theater

Symphony No. 2; Israel in Egypt, Columbus Indiana Phil.Gianni Schicchi, MasterWorks Festival (Young Artist)

Christin-Marie HillJezibabaMinnesota Opera Resident ArtistRecentlyA Masked Ball; Romeo and Juliet, The Minnesota OperaA Whitman Tryptich, Tanglewood FestivalDido and Aeneas, Mark Morris Dance Co.; Kansas Opera Thtr.Samson et Dalila (excerpts), Merola Opera TheaterLa Cenerentola; Roméo et Juliette, Lyric Opera of Kansas CityThe Crucible, Des Moines Metro OperaUpcomingLes Troyens, Boston SymphonyMahagonny, Tanglewood Festival

Katherine HaugenThird Dryad

Minnesota Opera DebutThe Marriage of Figaro, 2007

RecentlyThe Fortunes of King Croesus; Romeo and Juliet; Lakmé;The Grapes of Wrath; The Tales of Hoffmann; JosephMerrick, the Elephant Man; Orazi e Curiazi; Tosca;

Nixon in China; Maria Padilla; Madame Butterfly; The Handmaid’s Tale; La traviata; The Flying

Dutchman; Norma; The Merry Widow; Don Carlos; La bohème; La clemenza di Tito; Lucia di Lammermoor;Pagliacci/Carmina burana (ensemble), Minnesota Opera

Andrea ColemanSecond DryadMinnesota Opera Resident ArtistRecentlyThe Italian Girl in Algiers; The Marriage of Figaro;

The Fortunes of King Croesus; Lakmé; The Tales of Hoffmann, The Minnesota Opera

Glimmerglass Opera Young American ArtistCosì fan tutte; Little Women; Cendrillon; The Turn of the

Screw; The Magic Flute, New England ConservatoryThe Gondoliers, Harvard-Radcliffe G & S PlayersMagic Flute; Mikado; Pirates of Penzance, Univ. of Kansas

Dorothy ByrneJezibaba

Minnesota Opera DebutLittle Women, 2002

RecentlyRoméo et Juliette; Il barbiere di Siviglia, Hawaii Opera Theatre

Le nozze di Figaro, Houston Grand OperaAnna Karenina, Florida Grand; Opera Theatre of St. LouisThe Greater Good, Glimmerglass; Sweeney Todd, Shreveport Op.

UpcomingThe Mines of Sulphur, Wexford Festival

Lakmé; Le nozze di Figaro, Florida Grand OperaThe Ghosts of Versailles, Opera Theatre of St. Louis


“ G E S U N D H E I T ” W H E N Y O U S A Y


T H E R E ’ S N O T E N O U G H A R T I N O U R S C H O O L S .

For more information about the importance of arts education, please contactwww.AmericansForTheArts.org.

Page 17: Minnesota Opera's Rusalka Program




THE ArtistsFor more biographical information about these artists,visit our website at www.mnopera.org

Kelly KaduceRusalkaMinnesota Opera DebutLa bohème, 2002RecentlyFaust, Malmö Opera och MusikteaterLa bohème, Opera Pacific; The Grapes of Wrath, Minn. OperaTea: A Mirror of Soul, Santa Fe OperaAnna Karenina, Florida Grand; Opera Theatre of St. LouisUpcomingMadame Butterfly, Opera Theatre of St. LouisOtello, Kentucky OperaSuor Angelica, Teatro Municipal (Chile)

Robert PomakovVodnik

Minnesota Opera DebutRecently

From the House of the Dead; Tosca; Das Rheingold; LadyMacbeth of Mtsensk, Canadian Opera Company

Salome, Lyric Opera of Chicago; Opéra de MontpellierFidelio, Opéra de Bordeaux; Opéra de Marseille

Boris Godunov, Madrid; Houston; BrusselsEugene Onegin, Fest. de Lanaudières; Don Giovanni, Wash. Opera

UpcomingTosca, Los Angeles Opera; Don Giovanni; War and Peace; A Midsummer Night’s Dream, Canadian Opera Company

Brandon JovanovichThe Prince

Minnesota Opera DebutStreet Scene, 2001

RecentlyTosca, Seattle Opera; Bregenezer Festspiele

Madame Butterfly, San Francisco OperaCavalleria rusticana, New York City Opera

Macbeth, Dallas OperaAnna Karenina, Florida Grand; Opera Theatre of St. Louis

Jenufa, Angers Nantes Opéra Upcoming

Carmen, Glyndebourne Festival

Wendall K. HarringtonProjections Designer

Minnesota Opera DebutTransatlantic, 1997

RecentlyThe Grapes of Wrath, The Minnesota Opera

The Who’s Tommy; Grey Gardens;The Good Body; others, Broadway

The Chris Rock TourThe Turn of the Screw, Royal Danish Opera

The Nutcracker, San Francisco BalletNixon in China, Minn. Opera; Opera Theatre of St. Louis

Anna Karenina, Royal Danish Ballet

Mathew JanczewskiChoreographerMinnesota Opera DebutRecentlyBankrupt City Ballad, Theater Latté DaUgly, ARENA Dances (artistic director)choreographer – Repertory Project (Cleveland); St. Paul

Conservatory; St. Olaf; Gustavus; Macalester; Hamline; U of M; Walker Art Ctr.; Zenon; State Univ. of New York

2005 McKnight Fellowship for choreographyUpcomingwaterBRIDGE, ARENA DancesETHEL String Quartet at the Southern Theater

Karin WolvertonFirst DryadMinnesota Opera DebutLucia di Lammermoor, 2001RecentlyCarmen; The Rake’s Progress; The Tales of Hoffmann;

Gloriana; Salome, Des Moines Metro OperaGrapes of Wrath; Tales of Hoffmann; Don Giovanni; Carmen;

Maria Padilla; Magic Flute; others, Minnesota OperaThe Tales of Hoffmann; The Student Prince, Central City OperaUpcomingThe Grapes of Wrath, Pittsburgh Opera; Opera PacificThe Crucible, Orlando Opera

Page 18: Minnesota Opera's Rusalka Program











THE Artists For more biographical information about these artists,visit our website at www.mnopera.org

Bill MurrayAssistant DirectorMinnesota Opera Resident ArtistRecentlyRomeo and Juliet (AD); Rigoletto; Carmen (roles); La donna

del lago; Joseph Merrick, the Elephant Man; Orazi eCuriazi; others (ensemble), Minnesota Opera

Ariadne auf Naxos; The Merry Wives of Windsor, University of Minnesota Opera Theatre

Le nozze di Figaro, La Musica Lyrica2002 La Musica Lirica Festival (Urbania, Italy)1998 Tanglewood Music Festival

Robert WierzelLighting Designer

Minnesota Opera DebutSnow Leopard, 1989

RecentlyThe Grapes of Wrath, The Minnesota Opera

Don Giovanni, Seattle OperaJenufa, Glimmerglass Opera

Happy End, American ConservatoryMacbeth, Vancouver Opera; Agrippina, Virginia OperaOrpheus and Euridice (Gordon), Lincoln Center Theater

UpcomingGiulio Cesare, Seattle Opera

Eric SimonsonStage DirectorMinnesota Opera DebutThe Magic Flute (tour), 1991RecentlyThe Grapes of Wrath; La bohème; The Handmaid’s Tale;

Orazi e Curiazi, The Minnesota OperaA Note of Triumph – Academy Award (short documentary)When Pride Still Mattered, Madison Repertory TheatreCarter’s Way, Kansas City RepertoryHomeland; Five Points; On Tiptoe, HBO TelevisionKorczak’s Children, Children’s Theatre CompanyAhab’s Tale; Work Song, Milwaukee Repertory Theatre

Kärin KopischkeCostume Designer

Minnesota Opera DebutLa bohème, 1996

RecentlyThe Grapes of Wrath; Orazi e Curiazi, Minnesota OperaSteppenwolf; American Conservatory Theatre; Goodman;

Huntington; Chicago Shakespeare Theatre; Long Wharf Theatre; Milwaukee Repertory Theatre; Victory Gardens;

Kennedy Center; Crossroads Theatre; San Francisco Shakespeare Festival; California Shakespeare Festival;

Cincinnati Playhouse; Skylight Opera Theatre

photo notavailable

Erhard RomSet Designer

Minnesota Opera DebutRecently

Romeo and Juliet, The Minnesota OperaJane Eyre, Opera Theatre of St. Louis

Volpone; L’étoile; Sweeney Todd, Wolf Trap OperaThe Tales of Hoffmann; Susanna, Virginia Opera

Eugene Onegin, Cleveland OperaVanessa, Chautauqua Opera

UpcomingAlcina, Wolf Trap Opera

La bohème, Opera Theatre of St. Louis

Robert WoodConductorMinnesota Opera DebutLa donna del lago, 2006RecentlyThe Italian Girl in Algiers, Vancouver Opera; Minnesota OperaThe Nutcracker, San Francisco BalletThe Magic Flute; Le Comte Ory, Wolf Trap Opera Co.L’italiana in Algeri; La traviata, San Francisco OperaTosca; Faust; Manon; Carmen; Elisir; others, Opera San JoséUpcomingLa Cenerentola, New Jersey OperaThe Love for Three Oranges, Indiana University

Page 19: Minnesota Opera's Rusalka Program




THE Artists

Back row (left to right) Erik Erlandson, Nick Sanches, Sam Thompson, Garrett Obrycki Front row (left to right) Liv Redpath, Joia Byrnes, Erin HodgsonNot pictured: Alexandra Razskazoff

Project Operaperformers in RusalkaJoining The Minnesota Opera Chorus for Rusalka are the winners of this year’sProject Opera aria competition.

The eight students – members ofProject Opera’s Giovani ensemble – werechosen from among twenty-five contestantsin this spring’s competition, where eachstudent performed an aria or art songbefore a panel of judges. The annualcompetition is open to all members ofGiovani and is held as a way to encouragethe development of the solo voice, amajor emphasis of Project Opera. Pleasegive a warm welcome to these hometownperformers from Mora, Woodbury, WestSt. Paul, Ham Lake, New Brighton,Edina and Champlin.

See page 22 for more on The Minnesota Opera’sEducation programs.

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Page 20: Minnesota Opera's Rusalka Program











Kyle AlbertsonJohn David BoehrNathan BrianKaren BushbyJoia ByrnesErik ErlandsonCarole FinneranPeter FrenzGretchen GammRoland HawkinsMichelle HayesRobin HelgenErin HodgsonChristopher JobBen JohnsonRoy KallemeynHye Won KimMark LarsonJeffrey MadisonMary MonsonGarrett ObryckiJon OlsonAlexandra RazskazoffLiv RedpathChristian ReinertAna RomeroJoy ScheibRobert SchmidtSandra SchoeneckerSam Thompson

ARENA DancesGabriel AndersonSarah BaumertMary DaviesRobert HaarmanHeather KlopchinStephanie LaagerChristopher LaPlanteJulie McBrideLuke MeshlaSteve Moses

Violin IKristen Christensen

concertmasterJulia PersitzDavid MickensJudy Thon-JonesAngela HansonAndrea EenConor O’BrienLydia MillerGiselle HillyerTroy Gardner

Violin IILaurie PetruconisElizabeth DeckerStephan R. OrsakMelinda MarshallHuldah NilesLindsay EricksonAlastair Brown

ViolaVivi EricksonLaurel BrowneJenny Lind NilssonSusan JandaJim BartschCoca Bochonko

CelloJohn EadieRebecca AronsThomas AustinSally Gibson DorerKarl Knapp

BassJohn Michael SmithConstance MartinJason C. HagelieMichael Watson

FluteMichele FrischAmy Morris

PiccoloCasey Kovacic

OboeMarilyn FordTina James

English HornMichael Dayton

ClarinetSandra PowersNina Olsen

Bass ClarinetKarin Meffert-Nelson

BassoonCoreen NordlingLaurie Hatcher Merz

HornCharles HodgsonGina MongeNeal BolterLawrence Barnhart

TrumpetJohn G. KoopmannChristopher VolpeCraig Hara

TrombonePhillip OstranderSue RobertsDavid Stevens

TubaRalph Hepola

TimpaniKory Andry

PercussionMatthew BarberPaul Hill

HarpMin J. Kim

Personnel ManagerSteve Lund


2008-2009 Minnesota OperaGENERAL/CHORUS AUDITIONSAudition dates: April 23, 24, 25 and 26, 2008Location: The Minnesota Opera Center

Please go to www.mnopera.org/about for scheduling information and audition requirements.

AuditionDates:April 23, 24, 25and 26, 2008

Chorus Orchestra


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Page 21: Minnesota Opera's Rusalka Program




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Page 22: Minnesota Opera's Rusalka Program











Education AT THE OPERA

Full cast of The Nightingale.

Project OperaThis winter Project Opera has again been verybusy. Made up of talented students who come fromeverywhere – St. Peter to Hudson – participants inProject Opera join the year-long vocal trainingprogram (led by Music Director Dale Kruse) toexperience the world of opera.

Giovani ChoirIn March, Giovani, the 55-member highschool ensemble, presented a fully-stagedproduction of Imant Raminsh’s TheNightingale at Augsburg College.

Ragazzi ChoirRagazzi (made up of vocalists ingrades 4-7) visited In the Heart of theBeast Puppet and Mask Theater for theirwinter retreat.

Join the excitement!Auditions for Project Opera 2008-2009 will be held in August!Project Opera is for boys and girls in grades 4-12.Call Community Education Director Jamie Andrews at 612-342-9573 or seewww.mnopera.org/learn for details.

The mechanical nightingale (Hannah Sicora) breaks in front of theEmperor (Nick Sanches) and his court.

Ragazzi at In the Heart of the Beast Puppet and Mask Theater.

Page 23: Minnesota Opera's Rusalka Program

coOPERAtion!From East Grand Forks to Eau Claire, Spring Lake to Little Falls,Minnesota Opera Teaching Artist Vicki Fingalson continues to bringthe excitement of opera to students K-12. Bring Vicki to your school!Find out how to schedule a visit at mnopera.org/learn.

A special thanks goes to Medtronic for their continued support of coOPERAtion!




Education AT THE OPERA

Vicki helped the St. Louis Park choirwith music from Carmen.

Little Falls High SchoolChoir poses with Vicki.

Vicki works with Nicole Twito during a Day at the Opera.

Page 24: Minnesota Opera's Rusalka Program











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Sept. 20 – 28, 2008

Destinies and quests for revenge collide in

Verdi’s thrilling drama.

Nov. 1 – 9, 2008Hilarious hijinx abound aboard the

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Feb. 28 – Mar. 8, 2009

The American premiere of an opera for the

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Page 27: Minnesota Opera's Rusalka Program




Apr. 11 – 19, 2009

Pure joy and sillinessabound in this

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See 3 operas for as little as $50!2008-2009 Subscriptions on sale now!

See the “most spectacular show in town!” (Mpls.St.Paul Magazine) You won’t want to miss a moment of Th e Minnesota Opera’s stunning 2008-2009 season. And with English translations projected above the stage you’ll understand every word. Our fl exible packages, surprising discounts and incredible benefi ts make it easy to subscribe to “the most daring programming in America….” (Opera News)

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Page 28: Minnesota Opera's Rusalka Program
Page 29: Minnesota Opera's Rusalka Program


International Artist Series2008-2009 Season

Including soprano Deborah Voigt on January 9, 2009 & tenor Ben Heppner on April 22, 2009

at Ordway CenterFor subscription information,

call The Schubert Club Box Office: 651-292-3268www.schubert.orgVoigt

For information & tickets:651-292-3268 or www.schubert.org/songfest

Six Days and Nights of Song!

The Schubert ClubSaint Paul Summer Song FestivalJune 9–14, 2008

Page 30: Minnesota Opera's Rusalka Program












Platinum $7,500–$9,999AnonymousRusty and Burt CohenDavid Hanson and William BiermaierRachelle Dockman ChaseVicki and Chip EmeryJenny Lind Nilsson and

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The Minneapolis FoundationConnie Fladeland and Steve FoxDenver and Nicole Gilliand

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Dwight D. OppermanElizabeth RedleafStephanie Simon and Craig BentdahlMary W. Vaughan Fund of

The Minneapolis FoundationC. Angus and Margaret Wurtele

Gold $15,000–$19,999Karen BachmanNicky B. CarpenterDarlene J. and Richard P. CarrollN. Bud and Beverly Grossman


Mr. and Mrs. Philip IsaacsonThe Art and Martha Kaemmer Fund of

HRK FoundationPeter J. KingBernt von Ohlen and Thomas Nichol

Silver $10,000–$14,999Anonymous (4)Shari and David BoehnenSusan BorenDaniel and Christine BussJane M. and Ogden W. ConferMary Dearing and Barry Lazarus

Cy and Paula Decosse Fund of The Minneapolis Foundation

Sharon and Bill HawkinsWarren and Patricia KellyMr. and Mrs. B. John Lindahl, Jr.Thomas and Barbara McBurneyHarvey T. McLainMrs. Walter MeyersDiana and Joe MurphyBruce and Sandy NelsonRebecca RandKaren Sternal

$1,000–$2,499Anonymous (4)Paula Anderson and Sheila BrayAugust J. Aquila and Emily HaliziwNina and John ArchabalMr. and Mrs. Edmund P. BabcockRuth and Dale BachmanDr. Thomas and Ann BagnoliJames Baldwin and Mary AtmoreKent and Maria BalesDr. Ford and Amy BellSue A. BennettDonna BlockMrs. Paul G. BoeningJudith and Arnold BrierConley Brooks FamilyJoan and George CarlsonJeff and Barb CoutureMrs. Thomas M. Crosby, Sr.Bill and Kate Cullen

Jeff and Wendy Wenger DankeyFran DavisRuth and Bruce DaytonJudson DaytonMargaret DiblasioJoe Dowling and Siobahn ClearyJoan DuddingstonJoyce and Hugh EdmondsonAnn FankhanelEster and John FeslerRihab and Roger FitzGeraldTom and Lori FoleyMr. and Mrs. John ForsytheSalvatore Silvestri FrancoWilliam and Bonita FrelsTerence Fruth and Mary McEvoy

Family Fund of The MinneapolisFoundation

Howard and Heidi GilbertDr. Stanley M. and Luella G. Goldberg

Amy R. and Philip S. GoldmanFoundation

Michael and Elizabeth GormanBill and Jeanne GrandyJean and Bruce GrussingJames and Sharon HaleRosalie Heffelfinger Hall Fund of

The Minneapolis FoundationDon HelgesonJohn and Rosemarie HellingSharon and Cliff HillDiane HoeyJohn and Jean McGough HoltenAndrew and Margaret HoultonBill and Hella Mears HuegEkdahl Hutchinson Family Fund of

The Minneapolis FoundationMr. and Mrs. Horace H. Irvine IITeresa and Chuck JakwayJames Jelinek and Marilyn Wall

Mrs. Owen JenkinsBryce and Paula JohnsonMarkle KarlenE. Robert and Margaret V. Kinney

Fund of The Minneapolis FoundationSteve and Jolie KlapmeierHugh Klein and Judy LebedoffMr. and Mrs. William KlingGerard KnightMrs. James S. KochirasThe Hackensack Fund of

The Saint Paul FoundationRobert Kriel and Linda KrachMark and Elaine LanderganSy and Ginny Levy Family Fund of

The Minneapolis FoundationJerry and Joyce LillquistBill LongDawn M. LovenMahley Family Foundation

Artist Circle

It is with deep appreciation that The Minnesota Opera recognizes and thanks all of the individual donors whose annualsupport helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whoseleadership support provides the financial foundation which makes the Opera’s artistic excellence possible.

For information on making a contribution to The Minnesota Opera, please call Annual Fund Director Dawn Loven at 612-342-9567, or email her at [email protected].

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Gold $750–$999Dr. Hannelore BruckerCheryl Kreofsky and Michael

FitzgeraldThomas Hunt and John WheelihanOrpha McDiarmid Family FundMr. John MurphyBradley NussAnn M. RockJames and Andrea RubensteinThe Harriet and Edson Spencer

FoundationDana and Stephen StrandStephanie C. Van D’EldenFrank and Frances Wilkinson

Silver $500–$749Anonymous (2)Quentin and Mary AndersonJaime Andrews and

Jane Kolp-AndrewsGenevive AntonelloDr. and Mrs. Orn ArnarMrs. Gordon J. BaileyJames and Gail BakkomDonald and Naren BauerMrs. Harvey O. BeekBarbara S. BelkBrian BenjaminGerald and Phyllis Benson

Steven and Mindy BentonFred and Carolyn BogottJan and Ellen BreyerDavid and Irma BrinkThomas and Joyce BrucknerEmilie and Henry BuchwaldCaulkins Family FoundationArnold ChuJoann CierniakWanda and David ClineBobby and Elliot CohenJ.P. CollinsElisabeth ComeauxBurt and Jeanne CorwinNorma DanielsonAmos and Sue DeinardMr. Steven A. DiedeKeith and Linda DonaldsonMr. Carl B. Drake, Jr.Brad and Diane EnglandHerbert and Betty FantleCatherine C. FinchRichard FishelKris and Kristina FredrickDavid GilberstadtRobert Goodell and Renee BrownPaul and Margot GrangaardDeanne and John GrecoMarjorie and Joseph GrinnellBruce and Jean GrussingSusanne Haas and Ross Formell

Fred and Alice HahnRoger L. Hale and Nor HallRuth E. HanoldFrederick J. Hey, Jr.Gregory HoehnAndrew Holey and Gary WhitfordLiesl and Todd HydeDiane and Paul JacobsonJanet N. JonesDr. and Mrs. Charles R. JorgensenJane and Jim Kaufman Fund of

The Minneapolis FoundationMary H. KeithahnCharlie and Sally LanninJohn Warren Lassila and

Dr. John HeefnerAlice LesneySid and Diane LevinJonathan and Lisa LewisRebecca LindholmRuth LyonsJoan E. MaddenJohn MagdsickDonald and Rhoda MainsBecky MalkersonTom and Marsha MannLowell and Sonja NoteboomDennis R. OlsonDerrill M. PankowJames A. PayneMarcos and Barbara Pinto

Carroll and Barbara RaschDan and Kari RasmusLawrence M. RedmondChristine Roberts and Ric LarsonWilliam and Sue RobertsAnne SalisburyDavid E. SanderJanet and Bill SchaederMahlon and Karen SchneiderMarcia and Stephen SchultzBill and Althea SellDonald and Estelle SellClifford C. and Virginia G. Sorensen

Charitable Trust of The St. PaulFoundation

Matthew SpanjersDaniel J. SpiegelColin StevensonWarren StortroenRoxanne Stouffer and Joseph CruzAnthony TheinDr. Andrew J. and

Mrs. Carolyn P. ThomasCindy VilksWill and Li VolkDavid M. and Mary Ann Barrows WarkBarbara and Carl WhiteBarbara and James WillisLani Willis and Joel SpoonheimClark J. and Sharon L. Winslow

Patron Circle

Margery MartinRoy and Dorothy Ann MayeskeCharles and Helen McCrossanSheila McNallyJames and Judith MellingerVelia R. MelroseWilliam MesserliJoseph MicallefDavid and LaVonne MiddletonAnne W. MillerCharles and Victoria Mogilevsky

Sandy and Bob MorrisElizabeth B. MyersJoan and Richard NewmarkDan and Pat PanshinAllegra W. ParkerPaula PatineauWilliam and Suzanne PayneRobert and Mary PriceJim and Connie PriesKevin and Sara RamachBarbara Redmond

Frances and George ReidJohn and Sandra RoeThomas D. and Nancy J. RohdeGordon and Margaret RosineMr. and Mrs. Steven RothschildLeland T. Lynch and Terry Saario Fund

of The Minneapolis FoundationSampson Family Charitable FoundationPatty and Barney SaundersJim ScarpettaDr. and Mrs. Richard J. Schindler

Jeff and Helene SlocumKeith and Catherine StevensonDon and Leslie StilesRobert and Barbara StruykJames and Susan SullivanLois and Lance ThorkelsonPatricia TiltonEmily Anne and Gedney TuttleMr. and Mrs. Philip Von BlonJames and Sharon Weinel

Artist Circle (continued)

These lists are current as of March 1, 2008, and include donors who gave gifts of $250 or more to The Minnesota Opera Fund since July 1, 2007. If your name is not listed appropriately, please accept our apologies, and call Morgan Walsh, Individual Gifts Manager, at 612-342-9569.

$250-499Anonymous (4)Arlene Goodman AlmFred Amram and Sandra BrickCharles AndersonBill and Anne BeerDennis BreiningMr. John ClemedtsonSandy and Doug ColemanSage and John Cowles, Jr.Robert and Marilyn DavidsonMs. Linda DonaldsonMs. Belinda DorauMs. Jane DudleyChristopher and Deena EbbertMr. and Mrs. Roland FaricyBarbara J. FeltHal and Joyce Field, Jr.Charles and June FitchC.D.F. FoundationNiki FlavinRichard and Pamela FlennikenJane FullerValdemar GaribayGreta and Paul GarmersKatherine and Robert Goodale, Jr.

Richard and Marsha GouldJill GreeneLee GremillionMargaret GuntherAlbert and Janice HammondDouglas and Doris HappePatricia S. HartStefan and Lonnie HelgesonPatricia HildebrandtJacqueline J. Hill and

Donald J. ChristensenReverend and Mrs. Henry H. HooverKarin A. Jacobs and

Kent A. WilliamsRay JacobsenKim and Tom JensonAnnette Atkins and Tom JoyceErika and Herb KahlerNancy and Donald KappsDenver and Sharol KaufmanCarole and Joseph KillpatrickJohn C. KimRobert and Venetia KudrleJohn and Carole KylloMs. Doris S. LarsonWynn and Anne Lee

Erik LimbeckBruce and Susan LueckSteve LundThomas Kleinschmit and Liana MageeChristopher and Cheryl McHughL. David MechLeo and Fern MelzerJames Meunier and Debra K. BrooksSteven J. MittelholtzBrad Momsen and Rick BuchholzDavid and Leni MoorePaul C. MuzioMerritt Nequette and

Pauline LambertJames and Carolyn NestingenLucia NewellGeorgia O’ConnorRichard Pietz and Brian JorgensenNicole and Charles PrescottDennis M. ReadyMs. Joan K. RegalScott RileMr. and Mrs. Winthrop RockwellBill RohdeMichael and Tamara RootLiane A and Richard G Rosel

Daniel RothEnrique and Clara RotsteinKaren A. SchafferDr. and Mrs. Thomas SchattenbergPaul L. SchroederJanet and Irving ShapiroJean and James SharerWilliam K. SheffieldMr. and Mrs. Morris ShermanCherie and Bob ShreckJon Y. SpoerriJoanne Strakosch and

William UmscheidMr. Joseph and Ms. Pamela StraussSarah SuemnigDelroy and Doris ThomasCurt and Kay ThorpeBarbara and Mark UngsJames WallDavid WardLana K. WarehamTerese WeitzelHelen and J. Kimball WhitneyWendy WildungMr. John W. Windhorst, Jr.Dr. James Wire

Associate Level

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(†) Deceased

Anonymous (2)Valerie and Paul AckermanMr. and Mrs. Rolf AndreassenMary A. AndresKaren BachmanMark and Pat BauerBarbara and Sandy Bemis (†)Joan and George CarlsonDarlene J. and Richard P. CarrollJudy and Kenneth (†) DaytonMrs. George DotyRudolph Driscoll (†)Sally EconomonEster and John Fesler

Paul FroeschlRobert and Ellen GreenIeva Grundmanis (†)Norton M. HintzJean McGough HoltenCharles HudginsDale and Pat JohnsonRobert and Susan JosselsonMrs. Markle Karlen (†)Mary KeithahnSteve KellerPatty and Warren KellyMargaret Kilroe Trust (†)Blaine and Lyndel King

Gretchen Klein (†)Bill and Sally KlingGisela Knoblauch (†)Mr. and Mrs. James KrezowskiRobert Kriel and Linda KrachVenetia and Robert KudrleRobert Lawser, Jr.Jean Lemberg (†)Gerald and Joyce LillquistBarbara and Thomas McBurneyMary Bigelow McMillanMargaret L. and Walter S. (†) MeyersSusan Molder (†)Edith Mueller (†)

Scott PakudiatisSydney and William PhillipsMrs. Berneen RudolphMary SavinaFrank and Lynda SharbroughAndrew H. Stewart, Jr.Barbara and Robert StruykJames and Susan SullivanGregory C. SwinehartStephanie Van D’EldenMary VaughanDale and Sandra Wick

The Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera intheir wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If youhave already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity.

Estate AND Planned Gifts

For more information on possible gift arrangements, please contact Annual Fund Director Dawn Loven at 612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you.

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For information on making a corporate or foundation contribution to The Minnesota Opera, please contact Grants Manager Elisabeth Comeaux at 612-342-9566, or email her at [email protected].


Season SponsorFAF Advisors and U.S. Bank

Production SponsorsA Masked Ball, FAF Advisors and

U.S. BankThe Italian Girl in Algiers, TargetRomeo and Juliet, Ameriprise FinancialThe Fortunes of King Croesus, National

Endowment for the Arts

Conductor AppearancesSpencerStuart

Camerata Dinners Lowry Hill Private Asset Management

Gala SponsorsMedtronic TargetU.S. Bank

Intermission ReceptionsPiper Jaffray

Meet the Artists Official CatererWildside Caterers

Opera InsightsThrivent Financial for Lutherans


Production Innovation SystemGeneral Mills

Promotional SupportMinnesota Monthly

Resident Artist ProgramWenger Foundation

YPG Opera Nights Out OfficialVenue

Matty B’s Supper Club

Broadcast PartnerMinnesota Public Radio

Minnesota Opera Sponsors

The Minnesota Opera gratefully acknowledges its major institutional supporters:

$50,000–$99,999 $100,000+ $25,000–$49,999


Sponsors $25,000+3MAmeriprise FinancialThe Bush FoundationCity of Saint Paul’s Cultural STAR

ProgramFAF AdvisorsGeneral Mills FoundationThe MAHADH Fund of

HRK FoundationThe McKnight FoundationThe Medtronic FoundationMinnesota State Arts BoardNational Endowment for the ArtsTargetThe Travelers Company, Inc.U.S. Bancorp FoundationU.S. Bank, Private Client GroupWells Fargo Foundation Minnesota

Platinum $10,000-$24,999Allianz Life Insurance of

North AmericaFred C. and Katherine B. Andersen

FoundationBest Buy Children’s FoundationCargill FoundationDeloitteDeluxe Corporation Foundation

Dorsey & Whitney FoundationEcolab FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable

FoundationLowry Hill Private Wealth ManagementMTS CorporationOPERA America’s Opera FundPiper Ja∂rayRBC Dain Rauscher FoundationSpencerStuartThrivent Financial for Lutherans

FoundationTwin Cities Opera Guild Valspar Foundation Wenger Foundation

Gold $5,000-$9,999ADC TelecommunicationsBemis Company FoundationBoss FoundationCaldrea CompanyCleveland FoundationEducation Minnesota FoundationFaegre & BensonR. C. Lilly FoundationMayo ClinicOnan Family FoundationPentair Foundation

Carl and Eloise Pohlad FoundationRobins, Kaplan, Miller & CiresiRahr FoundationSchwegman, Lundberg &

Woessner, P.A.SUPERVALU Foundation on behalf of

SUPERVALU Inc.U. S. Trust Bank of America Private

Wealth ManagementXcel Energy Foundation

Silver $2,500-$4,999Dellwood FoundationFredrikson & Byron FoundationMary Livingston Griggs and

Mary Griggs Burke FoundationHutter Family FoundationM&I BankAlice M. O’Brien FoundationParsinen, Kaplan, Rosberg & Gotlieb PAPeravid FoundationPricewaterhouseCoopers, LLPThe Elizabeth C. Quinlan FoundationMargaret Rivers FundSecurian FoundationSewell Family FoundationSit Investment FoundationTennant FoundationThyme to Entertain

Bronze $1,000-$2,499The ADS GroupElmer L. and Eleanor J. Andersen

FoundationArts & Custom Publishing Co., Inc.Bailey Nurseries, Inc.Burdick-Craddick Family FoundationHammel, Green and Abrahamson, Inc.Hardenbergh FoundationThe Hays CompaniesHogan & HartsonLeonard, Street & DeinardMains’l Services Inc.Maslon, Edelman, Borman & BrandMcVay FoundationLawrence M. O’Shaughnessy

Charitable Annuity Trust in honorof Lawrence M. O’Shaughnessy

Peregrine Capital ManagementRathmann Family FoundationThe Regis FoundationThe Southways FoundationWells Fargo Insurance ServicesThe Wood-Rill Foundation

Corporations, Foundations and Government

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it’s alive

Listen closely. There’s a change in the air.

It’s fresh and clear and bursting with melody.

A flutter of notes invigorates your soul.


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Page 36: Minnesota Opera's Rusalka Program

Member FDIC.

Some of our best investments have nothing to do with wealth management.We get our greatest rewards when we give in our community. That’s why we help to enrich our community by sponsoring a variety of cultural organizations. From the Minnesota Orchestra to The Minnesota Opera, supporting our community’s treasures says a lot about who we value most...you.

Proud sponsor of the 2007-2008 Minnesota Opera season.