PROGRAM: Bravo 1980 Fall Opera

You could buy this car on looks alone. But don't overlook price, room, mileage, range and total value. The beauty of 98 Regency is more than skin deep. Look at this car. Then look at everything it tank capacity rating of 25 gallons. Estimates offers. You should not have to look any further. lower in California.

Remember: The boxed EPA estimates are Oldsmobiles are equipped with GM-built for comparison to other cars. Your mileage engines produced and range depend on your speed, weather by various divisions. and 'trip length; your actual highway mile- See your dealer for age and range will probably be less than details. the highway estimates. Driving range esti- You can buy or mates are obtained by multiplying the EPA lease a 98 Regenand highway estimates by the standard fuel cy right now.

I am very pleased to be able to serve as an honorary chairman of the 10th season of Michigan Opera Theatre and to participate in the anniversary celebration. MOT is an important and integral part of the cultural life of Michigan, and it has greatly enriched residents all across the state

During the past decade, the company has gained national stature and acclaim The 10th anniversary will herald the outstanding achievement and ex cellence of Michigan Opera Theatre. I send my best wishes for an exciting and successful season

Sincerely,

On behalf of the citizens of Detroit, I congratulate the Michigan Opera Theatre on its tenth anniversary season.

The City of Detroit has benefitted greatly from the numerous educational programs sponsored by MOT, as well as its highly professional and entertaining productions that are acclaimed throughout the nation.

The Michigan Opera Theatre is, indeed, one of the focal points of Detroit's cultural renaissance.

I best wishes for your continued growth and success. Yours for a better Detroit, COLEMAN A YOUNG Mayor

DETROIT'S RENA'SSANCE CIENTERS

To many, the new Renaissance Center on the riverfront represents Detroit's "new spirit:' To us, it reaffirms Detroit's continuing spirit. Because it now joins our many other cultural centers which rank among some of America's finest. For years they have been a source of pride and awareness for millions of Detroiters Everyone of them deserves your support.

It is my great pleasure to welcome you to Michigan Opera Theatre's tenth anniversary season. In this first decade, we have established ourselves as a primary force in Detroit's cultural renaissance, an important arts resource throughout the entire State of Michigan and a company of national stature responsible for major productions televised coast-to-coast.

Our success continues to create new challenges and opportunities as we enter the 1980's I invite you to join us in the excitement that lies ahead.

Copyright 2010, Michigan Opera Theatre

General Director's Message

It hardl y seems possible that ten years have slipped by since we reopened Music Hall with no money, some dedicated volunteers , and lots of dreams about giving Detroit its very own opera company We knew there was an audience out there ; seven years spent wandering through schools and community centers in Southeastern Michigan as Overture to Opera had assured us of that. But the year was 1971, and many doubted that opera would be a strong enough attraction to bring people back into the city - especially to a theatre that had not been frequented for a decade.

But these ten years are history now , and we can look back with great pride at the results of those dreams: the launching of the Music Hall. Center for the Performing Arts and the emergence of MOT as one of our nation's major regional opera companies to serve Detroit and the State of Michigan.

Many artistic highlights are called to mind by the photographs in the Anniversary Supplement , and by the repertoire featured on this year's program cover. In these ten years we have helped develop some of America ' s foremost talents, now performing on stages throughout the world. We have been widely recognized for significant contributions to American musical theatre through important revivals and a major world premiere ; we have also presented some of the great masterworks in exciting and innovative productions.

We have made great organizational and financial strides over the past decade; much, of course , remains to be done. This is the second season to be concentrated into a two-month time span instead of being spread throughout the year. While some patrons have been unhappy with the change, it is emphatically succeeding in its goal of allowing us to work with singers and musicians on a more consistent , less disjointed basis It has also allowed the development of our Artist Intern Program, and these two factors have resulted in a greater depth of talent for each production .

As we enter our second decade , we are faced with the enormous challenge of sustaining an opera company against a backdrop of rampant inflation and economic recession. We must strive for broader and increased corporate and individual support to provide financial assistance in a variety of ways : by contributing to our operational support, by financing special projects , by underwriting the costs of specific productions , through memorial gifts of funds or securities and through bequests .

A grant from the Andrew W . Mellon foundation has enabled us to establish for the first time a Department of Development ; Stefanie Ott-O 'Toole has been appointed to administer and coordinate our current and future fund-raising efforts. Among the positive results to date are first-time gifts from a number of foundations , including the Knight Foundation , the McGregor Fund , and the Sage and Polk Foundations.

Support can be on a large scale or small, and both are important. Such mutually beneficial commitments as advertising in this program book or attending one of our fund-raising benefi ts are vital to our continued well - being. Ticket sales, of course, represent the most fundamental means of support for any performing arts organization; and we hope to greatly expand our corporate subscriptions along with a steady increase in individual season patrons.

So Michigan Opera Theatre has achieved a decade through the enthusiasm, talent and support of many, many people. I am extremely proud of our accomplishments to date, and look forward with renewed excitement to the challenges that lie ahead. You will be hearing much in coming weeks and months about our future plans - and problems! Meanwhile, thank you for being a part of this very special anniversary season - and for providing the love, support and enthusiasm that have allowed Michigan Opera Theatre to reach this important milestone

Copyright 2010, Michigan Opera Theatre

·Glassopensthet80s.

Governor William G. Milliken

Mayor Coleman A. Young Honorary Chairmen

Officers

Lynn A. Townsend Chairman of the Board

Dr. David DiChiera President

H. James Gram Treasurer

E. Harwood Rydholm Secretary

McClintock, Donovan, Carson and Roach Legal Counsel

'Wells, Rich, Green/Detroit, Inc. Advertising

Deloit!e Haskins and Sells Accountants

Board of Directors

J. Addison Bartush

Mrs. Avern L. Cohn

Robert E. Dewar

Dr. David DiChiera

Frank W. Donovan

Mrs. Charles M. Endicott

H. James Gram

John C. Griffin

David Hermelin

Mrs. William E. Johnston

Walton A. Lewis

John McDougall

John Prepolec

E. Harwood Rydholm

Arthur R. Seder, Jr.

Harold L. Smith

Mrs. Richard Starkweather

Lynn A. Townsend

Robert VanderKloot

Donald E. Young

Founding Members

Mr. and Mrs. Avern L. Cohn

Mr. and Mrs. John DeCarlo

Dr. and Mrs. David DiChiera

Mr. and Mrs. Aaron H. Gershenson

Mr. and Mrs. Donald C. Graves

Honorable and Mrs. Roman S. Gribbs

Mr. and Mrs. John C. Griffin

Mr. and Mrs. Harry L. Jones

Honorable and Mrs. Wade McCree, Jr. Harry J. Nederlander

E. Harwood Rydholm

Mr. and Mrs. Neil Snow

Mr. and Mrs. Richard Strichartz

Mr. and Mrs. Lynn A. Townsend

Mr. and Mrs. Robert C. VanderKloot

Mr. and Mrs. Sam B. Williams

Mr. and Mrs. Theodore O. Yntema

MICHIGAN OPERA THEATRE was saddened this year by the death of Trustee and Founding Member

AARON H. GERSHENSON, whose support and enthusiasm were an important factor in our growth over the past decade.

MICHIGAN OPERA THEA TRE is supported by a grant from the National Endowment for the Arts in Washington, DC. a federal agency.

This MOT season is also made possible with the support of the State of Michigan through funds from the Michigan Council for the Arts. For further information on available services and programs, contact the Council at 1200 Sixth Avenue in Detroit.

Copyright 2010, Michigan Opera Theatre

Advertising is the song of business.

We knowhow to orchestrate it.

Among our many clients who seem to like the arrangement are GM, Pontiac, Cadillac, Kirsch, Mr. Goodwrench, Detroit Diesel Allison, General MiUs, The American Dairy Association, Michigan Consolidated Gas, Amoco, Detroit Free Press, Dow, Colgate-Palmolive, General Tire, 3M, Budd, Bendix, Fruehauf, Budweiser, Whirlpoo" and Florists' Transworld Delivery.

Michigan Opera Theatre Board of Trustees

Dr. and Mrs. Roger Ajluni

Mr. and Mrs. John Wendell Anderson II

Dr. and Mrs. Robyn Arrington

Mr. and Mrs. J Addison Bartush

Mr. and Mrs J Merriam Barnes

Mr L. Karl Bates

Mr. and Mrs W Victor Benjamin

Mr. and Mrs. Bennett E Bidwell

Mr John Bloom

Mr. and Mrs . Eugene A. Cafiero

Mrs. Emil Capano

Mr. and Mrs Martin J. Caserio

Mr and Mrs Frederick K. Cody

Judge and Mrs. Avern L. Cohn

Mrs. Abraham Cooper

Mr. and Mrs . Rodkey Craighead

Dr. and Mrs Harold J Daitch

Mr. and Mrs. Robert E. Dewar

Dr. and Mrs . David DiChiera

Mr. and Mrs . Frank W. Donovan

Mr. Larry Doss

Mr. and Mrs. Charles M Endicott

Mr and Mrs Elliott M Estes

Mr. and Mrs. Charles T. Fisher III

Mr. and Mrs. Douglas Fraser

Mrs Joyce Garrett

Mr. and Mrs. Frank R. Gerbig, Jr.

Mr. and Mrs. Frank Germack, Jr.

Mrs. Aaron Gershenson

Mr. and Mrs . H. James Gram

Mr. and Mrs. Donald C. Graves

Honorable and Mrs. Roman S Gribbs

Mr. and Mrs. John C. Griffin

Mr. and Mrs. Craig Hall

Mrs. Robert Hamady

Mr. and Mrs. E. Jan Hartmann

Mr and Mrs. David Hermelin

Mr. and Mrs Wesley R. Johnson

Mrs. William E. Johnston

Mr. and Mrs. Ernest A. Jones

Mr . Jefferson Jordan

Mr. and Mrs Maxwell Jospey

Mr. and Mrs. Semon Knudsen

Mr. and Mrs. Jay Kogan

Dr. and Mrs . Richard Kulis

Mr. and Mrs. John D. Leighton

Mr. Fredric LeVine

Mr and Mrs David Lewis

MEMORIALS

Mr. and Mrs Leonard T. Lewis

Mr. and Mrs Walton A. Lewis

Mr. and Mrs. Paul F. Livingston

Mr. and Mrs. Thomas V. LoCicero

Mr. and Mrs Alan Loofbourrow

Mr. and Mrs. Ray M. Macdonald

Mrs . Jessie B. Mann

Mr. and Mrs. John McCabe

Mr. and Mrs. Robert McCabe

Honorable and Mrs Wade McCree, Jr.

Mr and Mrs John McDougall

Mr. and Mrs . Scott McKean

Mr. and Mrs. Paul A. Mirabito

Mr. and Mrs. Harry Nederlander

Mrs Jeanne Nederlander

Mr. and Mrs. Richard O'Connor

Mr. and Mrs. Julius L. Pallone

Dr. Francis Palmer

Mr and Mrs. David Pollack

Mr. and Mrs. John Prepolec

Mr E. Harwood Rydholm

Mr. and Mrs . Alan Schwartz

Mr. and Mrs. Arthur R. Seder, Jr.

Mrs. Florence Sisman

Mr and Mrs. Richard Sloan

Mr. and Mrs . Harold L. Smith

Mr. and Mrs. Roger B. Smith

Mr. and Mrs Neil Snow

Mr. and Mrs Richard Starkweather

Mr. and Mrs Frank Stella

Mr. and Mrs. Stanford Stoddard

Mr and Mrs. Richard Strichartz

Mr. and Mrs Lyn1'\ A. Townsend

Mrs. Joseph A. Vance, Jr.

Mr. and Mrs. Robert VanderKloot

Mr and Mrs William Vititoe

Mr. and Mrs. Dudley A. Ward

Mr. and Mrs. Harold G Warner

Mr and Mrs Victor Wertz

Mr. and Mrs David D Williams

Justice and Mrs G Mennen Williams

Mr. and Mrs . R . Jamison Williams

Mr . and Mrs. Sam B. Williams

Mr. and Mrs Charles Wollenzin, Jr.

Mr. and Mrs. R. Alexander Wrigley

Mr and Mrs Theodore O Yntema

Mr. and Mrs. Donald E. Young

The following memorial gifts have been received during the past year:

HONORING DONORS

Cecelia T. Ott

Arthur Stock

Glenn L. Minster and Family

Glenn L. Minster

Glenn L. Minster

Mr. and Mrs. Richard J. Hakes

Mrs. Arthur J. Stock

Wayne County Department of Social Services, Schoolcraft District

Irene Heard

Mr. and Mrs. Douglas J. Bromble

Dr. David DiChiera

General Director

Dwight Bowes Director of Productions

Karen DiChiera Director of Education

Richard A. Johnson Director of Finance

Stefanie Ott-O'Toole Director of Development

R. Edward Townley Director of Public Relations / Marketing

Administrative Staff

Dennis Krause Assistant to the General Dire ctor

Maggie Porter Receptionist

Deborah Micallef Administrative Assistant

Music Staff

Mark D . Flint

Music Director

Robert Myers

Chorus Master

George Darden Coach / Accompanist

Production Staff

Mark D Flint

Director , Young Artist 's Program

Marilyn Rennagel Lighting Consultant

Robert Murphy

Technical Director

Deborah Myers Administrative Assistant

Tony Dav is Executive Stage Manager

Bonnie Whalen

Costume Supervisor

Peggy Imbrie

Stage Manager

Marc Cervania Stage Manager

Abe Maius

Stage Production Carpenter

Production Interns

Sharon Dick Stage Management

Elizabeth Eckert

Music

Gilbert Hutchins Technical

Jim McMann Technical

Sarah Wine s ASSistant to the Direc tor of Finance

Peter Robbins

Subs cription Coordinator

Betty Ann Schneider

Public Relations Assistant

Joseph J Anzur

Administrative Assistant

John Dion

Orchestra Personnel Manager

Mark Gibson

Music Intern

David Sugar

Master Fly man

Tom Bryant

Master Electrician

Sandra Cottone

Assistant Technical Director

Steven Horak

Make-up Supervisor

Bernadine Vida

Wardrobe Mistress

Betsy Adams

Assistant Lighting Designer

J . C. Sealy

Movement Instructor

Stage Employees Local lt 38 IATSE

Stephanie Savin

Stage Management

Beverly A. Smith

Costuming

Juli e Stork

Costuming

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four-wheel disc brakes. The convenience of electronic cruise control. And more More roominess more usable trunk space. It's the pleasure in discovering that Seville for the 80's has considerably more roominess than its predecessor. And consid· erably more usable trunk space.

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A new American standard for the world. The beauty of being first. It awaits you when you visit your Cadillac dealer to buy or lease a new American standard for the world. Seville for the 80·s

Copyright 2010, Michigan Opera Theatre

MOT Opera Guild

If you are a subscriber to MICHIGAN OPERA THEATRE this season , you are also automatically a member of one of the most active and exciting organizations in Detroit - the MICHIGAN OPERA THEATRE GUILD. You will receive your membership card from Guild President Roberta Starkweather early in the season, along with information on the vari ety of activities available to Guild members

The MOT Guild is responsible for the most popular and successful fundraising event of the year - the annual PUB CRAWL, providing hundreds of happy patrons with an opportunity to sample the variety of entertainment available in Detroit's most popular watering holes Due to public demand, a special anniversary PUB CRAWL has been scheduled for October 30, in addition to our annual spring event.

The Guild also works with the MOT Company in a number of ways, providing hospitality and social outlets for performers, musicians, techni-

cians and support staff who have come to Detroit from all parts of the country to perform a variety of essential roles in the opera season Finally , the Guild administers and staffs the unique MOT Guild Opera Boutique located on the first level of

the Renaissance Center. A whole range of opera-related itemsbooks , records, posters, shirts, jewelry, gift items and much moreoffers an irresistable opportunity to browse, buy and support MOT at the same time

Tues. - Sot. 9-6 p.m. Sun. 9-1:30 p.m. Closed Mon.

• French Pastries • Custom Catering

• Tortes • Hot & Cold Hors d'oeuvres

• Wedding Cokes • Canapes

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Richard Wagner

Brought together by the economic force of the automobile , Indian Head and the greater Metropolitan Detroit Communities are joined in a mutually-beneficial partnership

We have grown together. Today Detroit is recognized as one of the great industrial cities of the world, and Indian Head has earned its reputation as one of the automotive industry's leading suppliers of metals, component parts and assemblies.

We are very proud of what we, as a major manufacturer, have brought to the partnership. A consistent excellence in the quality of our product cannot help but reflect

favorably upon those who make it all happen. Residents of the community Our employees

As a responsible partner, we shall continue to contribute to the steady growth of the community in which we function

If you are interested in quality in any of the following areas, call us. (313) 968·2200.

JOHANN STRAUSS

Operetta in Three Acts

September 12 , 13 , 14 , 17 , 19 , 20 , 1980

In English

libretto Haffner & Genee

translation

Ted Puffer conductor

Mark D Flint director Dominic Missimi

sets

Robert O'Hearn for th e Greate r Miami Ope ra Association

costumes

Malabar , Ltd.

Toronto

lighting Richard Winkler

Gabriel von Eisenstein

THE CAST

Charles Roe - Sept 12 , 14 , 17 , 20

Howard Hensel - Sept 13 , 19

Rosalinda , his wife Eleanor Bergquist - Sept 12, 14 , 19

Alma Jean Smith - Sept 13, 17, 20

Adele , their maid Barbara Meister - Sept 12, 14, 19

Jan Albright - Sept 13, 17, 20

Alfred, a singer George Shirley - Sept 12 , 13 , 19 , 20

Edward Kingins - Sept 14 , 17

Dr. Falke George Massey

Dr. Blind, a law yer David Parks' - Sept 12,14 , 17,20

George Bufford· - Sept 13 , 19

Frank, the prison warden Michael Van Engen·

Sally , Adele 's sister Coleen Downey·

Prince Orlofsky , a rich Russian Imogene Coca

Frosch , the jailer King Donovan

Prima Ballerina .... Joanne Danto

• Member , MOT Artist Intern Program

THE SCENE

Vienna, Austria, in the late nineteenth century

ACT ONE

The house of Gabriel von Eisenstein intermission

ACT TWO

Prince Orlofsky's grand ballroom intermission

ACT THREE

The warden's office in the city prison

MOT Artist Interns

Jeff Allyn

George Bufford

Holly Cairns

Vertrelle Cameron

Peter Clegg

Michael Doll

Cole en Downey

James Longacre

Carol Madalin

Robert Mince

Anne Nispel

David Parks

Maggie Rees

Paul Schmidt

Kevin Skiles

David Stork

Ross Stutzman

Michael van Engen

MOT Auxiliary Chorus

Patricia J Balysh

Cheryl C. Barnes

Larry N. Bate

Miriam Bate

Fred Buchalter

Ed R. Cartwright

Marie Fiorillo

Elizabeth A. Mar-Aston

Kimberly L. Phillips

Mary Anne Pilette

Ann Marie Reeves

Diane Rowlands

Leslye Sklar

Patricia Beach Smith

A. Michael Sochacki Jr.

Anna Speck

Robert Winston Sullivan

Hezekiah Williams

WHO'S WHO

The title character in Die Fledermaus is DR . FALKE, although his is far from the largest role . Some time before our story begins , Dr Falke and his friend GABRIEL VON EISENSTEIN went together to a masquerade party, at which Falke got very drunk. His friend Eisenstein, as a practical joke, left him In the street to sleep it off , which meant that the good doctor was forced to walk home in broad daylight dressed as a bat (die f/edermaus) and feeling very foolish . He has been plotting his revenge ever since

In addition to Eisenstein , the principal characters are Eisenstein 's wife ROSALINDA ; their maid ADELE ; ALFRED, a tenor In love with Rosalinda; FRANK, a prison governor ; FROSCH, the jailer; and PRINCE ORLOFSKY, who hosts the grand ball in Act Two.

THE STORY

ACT ONE: The von Eisenstein home . The first voice heard is that of Alfred, who is singing a serenade to Rosalinda Adele , the maid , rushes in with a letter from her sister offering

to sneak her into a ball that night at the home of Prince Orlofsky; her problem Is how to get the evening off work. Rosalinda, her mistress, turns a deaf ear to Adele's pleas about a sick aunt. Since her husband Gabriel Is leaving to serve a brief prison sentence (never mind why), Rosalinda wants Adele on duty to serve his farewell supper. Rosalinda Is further distracted when Alfred tells her that he will return that evening to woo her In her husband's absence. (Even though she Is contentedly married , Rosalinda has a weakness for tenors . )

Eisenstein makes his entrance railing at the incompetence of his attorney, whose bungling has succeeded In increasing Eisenstein's sentence Dr. Falke arrives with an invitation to Prince Orlofsky' s ball, and he urges the fun-lov ing Eisenstein to join him. He can attend In disguise, Falke suggests slyly, report to prison after the ball, and Rosalinda need know nothing about It . Eisenstein declares this an excellent Idea and leaves for prison in full evening dress! Rosa.linda, meanwhile, suddenly gives Adele the night off so the house will be empty for tenor Alfred's return

No sooner have Gabriel and Adele gone their separate ways than Alfred returns and sits down to eat Eisenstein's neglected supper . Frank, the new prison governor, arrives to escort his prisoner to jail and assumes that Alfred is Eisenstein . The mistaken identity cannot be corrected without compromising Rosalinda's reputation, so poor Alfred goes off to jail as the curtain falls

ACT TWO: The ball at Prince Orlofsky's Is an enormous success , although the host himself is as bored with the proceedings as he Is with life In general The disguised Eisenstein makes his entrance and Is stunned to recognize his maid among the guests! But Adele brazenly Insists he Is mistaken and enlists the rest of the party in her behalf. Eisenstein does not, however , recognize his own wife , who Is masked and pretend ing to be a Hungarian Countess . He Is completely enamoured of the unknown Hungarian, who flirtatiously walks off with his special chiming watch Eisenstein also encounters Frank - in disguise , of course - but neither knows who the other Is The party continues riotously until six a.m.

ACT THREE: The prison Frank and his jailer are both drunk, and Alfred Is amusing himself by singing in his cell . One by one, the principal characters show up for various reasons and succeed In furthering the confusion as to who is who. Eisenstein , arriving to begin his jail term , disguises himself as a lawyer to find out why his wife Is there seeking the release of Alfred , still pretending to be Eisenstein! Rosalinda , in return, defies her outraged husband to explain his missing watch .

Finally Dr . Falke enters to explain his role in creating most of the confusion as revenge for the episode of the bat costume Alfred and Rosalinda , seeIng an easy way out, are quick to blame their own Indiscretions on the same plot, which leads everyone to sing in praise of the wonderful powers of champagne!

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It is hard to believe today , when we associate it with ballrooms , evening clothes and formal elegance, but the waltz was considered quite dis- reputable in its early years. Like the charleston, jitterbug and frug of later days, the new dance - in which couples actually touched each other! - seemed to signal a total collapse of moral values to a generation trained in hands-off court balls .

The two men most responsible for changing those attitudes were both named Johann Strauss The elder Strauss took the waltz out of Vienna and spread it throughout Europe . His son took the waltz out of the ballroom into the concert hall, and finally onto the opera stages of the world

Die Fledermaus was the great breakthrough There had been waltzes in opera before, but there had never been a waltz opera before . From the first bar of the glorious overture to the last notes of the finale , the waltz shares center stage with champagne as the true stars of the world ' s most bebved musical comedy.

The genesis of Die Fledermaus begins with The Prison, an old German farce by one Roderich Bendix . Henri Meilhac and Ludovic Halevy - who had collaborated on several libretti for Offenbach and would later write the book for Bizet's Carmenadapted it into a French vaudeville called Le Reveillon which was the hit of Paris in 1872. (A vaudeville in the French theatre tradition is a light comedy used as a framework for a potpourri of folk tunes, dances , arias, popular songs and other preexistent music.)

The younger Johann Strauss was already the most popular composer in Vienna (although his first two operattas had not achieved great success) when Le Reveillon was offered as the basis for a third attempt. The French play was first translated by Carl Haffner, then adapted by Richard Greene. The libretto flowed smoothly once it was decided to abandon the overly French Christmas night atmosphere that would have seemed foreign to Viennese tastes , substituting the masked ball at Prince Orlofsky's in its stead As for the music, Strauss reportedly accomplished his most enduring score in just 42 nights during the fall and winter of 1973-74

Strauss himself conducted the world premiere of Die Fledermaus in Vienna's Theatre an der Wien on Easter Sunday, April 5 1874. It was a hit from: the first, althOugh some churlish critics objected to characters spending the evening in formal dress instead of the more exotic costuming then popular on stage. The operetta's subsequent success in Berlin truly launched the Strauss masterpiece into world orbit .

In the 106 years since its premiere, Die Fledermaus has been imitated, adapted, abridged and expanded with no noticeable damage to its enduring popularity When Meilhac and Halevy refused to allow Die Fledermaus to be presented anywhere in France, lest it damage potential royalties from their own Le Reveillon, the astute Strauss simply grafted the entire score onto a completely different libretto, called it La Tzigana, and presented it in Paris in 1877 to great acclaim. The German director Max Reinhardt drastically revised the book, added music from other Strauss sources, called the

Copyright 2010, Michigan Opera Theatre

result Rosalinda, and achieved wide success in Berlin , Paris, London and New York. The tradition of incorporating various specialty features as entertainment in Act Two apparently stems from a benefit performance at the Met in New York February 16, 1905, when the "entertainment" included Caruso and 29 other opera stars

Die Fledermaus has always been associated with celebrations and special festivities, from its holiday premiere to the tradition in many opera houses, including London's Royal Opera Covent Garden, of featuring it on New Year's Eve. Thus it is the most appropriate possible choice to launch the gala tenth anniversary season of Michigan Opera Theatre!

Illustration courtesy of the Greater Miami Opera Association

Friends of the Program Book

Michigan Opera Theatre wishes to thank the Patrons and Friends , listed throughout the follOWing pages , who have helped defray the cost involved in producing this program book.

PATRONS

Dulany'S Gallery

Fisher's Market, Inc .

Gerald 's Franklin Salon, Incorporated

Grosse Pointe Hunt Club

Dr. and Mrs Berj H. Haidostlan

Steven A. Turner

The League Shop , Inc .

Midwestern Educational Resources Centers, Inc.

Mr and Mrs Jack Milen

Paul's Cut Rate Drugs

Quarton Food Market

Mr. & Mrs Ernest Schwartz

Norman & Denise Smith

FRIENDS

Mrs. Charles C Andrews

Dr and Mrs Allan A. Ash

Mr and Mrs Alvin E. Balmes

Mr. and Mrs Harry F Banks

Mrs Carl O. Barton

Mr. and Mrs. J. Addison Bartush

Connie Bazanski, Greek Patrons of Art

Russell and Lurray Bell

Mr. and Mrs W Victor Benjamin

Mr. and Mrs. George R. Berkaw, Jr .

Dr. Andrew H Berry

Flora Blackman

Mrs . Albert W . Blackmon

Alice R. Bolo

Music CENTER

presents

Your 1980-81 Schedule of Entertainment Highlights

• DANCE SERIES

Eight of the world's leading ballet and dance companies have been invited this year, led by such varied attractions as the Twyla Tharp Dancers, the Royal Winnipeg Ballet and Alvin Ailey's American Dance Theater.

• HEADLINER SERIES

Ben Vereen, Paul Williams and Count Basie and his orchestra are just part of the roster of show business luminaries that make up this season's highly popular Headliner Series.

• FAMILY SERIES

Carefully selected to delight every member of the family, the features of this year's series include comedian/pianist Victor Borge, the famed Mummenschan/: mask mimes and a lively musical version of Dickens' "A Christmas Carol."

• THEATHE SERIES

Broadway's "The American Dance Machine," Long Wharf Theatre's "The Lion In Winter" and Pat Carroll's "Gertrude Stein, Gertrude Stein" highlight this new Music Hall series.

FREE BROCHURES. Please pick up your free brochures on these four Music Hall series in the lobby as you leave the theatre. Brochures and additional information can also be obtained by calling the Season Ticket Office at 963-6943 between 10 a.m. and 6 p.m., Monday through Friday.

- .-' --., and mid-size

No mirrors. no wires. nothing up our sleeve. Citation really Is boltl compact and mid-siZe. Watch closely. Compact on , ouIIIcIe. OutSide. atatlon measures only 15 feet bumper to bumper. Thafs trim enough to fit Into 3 / 4 of a parking space.

MIckIze on lnIIde. No hocus-pocus. What we did was to mount CItation's engine sideways, giving you enough room Inside to seat five adults comfortably. WIth space left over in the hatchback that could even surprise Houdtnl. There's also a removable shelf panel that makes every bit of cargo just seem to disappear

You'Vie got to drIw Hto H.

Ot course, there's a lot more about Citation than meets

• There's its front -wheel-drlve traction on wet roads, ttvough snow and In mud.

• The way tis ride can make a s1Yetch of road seem a whole lot smoother.

• Its Impressive acceleraflon.

• And yet still, In the hatchback. wagon-like convenience

Why not see your Chevy dealer about buying or leasing the new Chevy Citation You might be It could be just the car you have In mind.

ItS a whole new kind of compact car.

BENEFACTORS

Mr. and Mrs J Addison Bartush Bundy Foundat ion Knight Foundation

Mr. and Mrs Paul F. Livingston

Mr. and Mrs. Emmet E. Tracy

Mr. and Mrs. Robert C. VanderKloot

SUSTAINERS

Dr. and Mrs. Donald C. Austin

Mr. and Mrs Robert E Dewar

Mr. and Mrs Charles M Endicott

Mr. and Mrs Frank R Gerbig, Jr.

Mr. and Mrs David B Hermelin

John and Ella Imerman Foundation

Mrs. William E Johnston

Dr. and Mrs Richard Kulis

Mr. and Mrs Paul S Mirabito

Ralph L. and Winifred E . Polk Foundation

Mr and Mrs John Prepolec

Sage Foundation

Mr. and Mrs Richard Starkweather

Mr and Mrs Lynn A. Townsend

Mr. and Mrs Dudley A. Ward

Mr. Marvin Weisenthal

Mr. and Mrs. Sam B. Williams

SPONSORS

Mr. and Mrs. W Victor Ben jamin

Mr. and Mrs. Bernard T. Brodsky

Judge and Mrs . Avern L. Cohn

Mr. and Mrs Frederick Colombo

Mr. and Mrs Robert P. Cooper

Dr. and Mrs David DiChiera

Mr . and Mrs . Edward P. Frohlich

Mr. and Mrs . Mervyn G . Gaskin

Mr. and Mr s . Frank Germack , Jr.

Mr. and Mrs H James Gram

Mr. and Mrs. John C. Griffin

Mrs Robert M Hamady

Dr. Richard L. Hogan, M D

Mr. and Mrs. Ernest A. Jones

Mr. and Mrs Maxwell Jospey

Kimberly-Clark Foundation, Inc

Mr. and Mrs. John D Leighton

Mr. and Mrs Ray W Macdonald

Mr. and Mrs Ralph J Mandarino

Mr. and Mrs. John C. Mc Cabe

Mrs Charles S. Mott

Mr. and Mrs. Milton M Sch impke

Mr and Mrs Alan E Schwartz

Mr. and Mrs Arthur R. Seder , Jr

James D Segadi

Mr. and Mrs . George C. Vincent

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Mr and Mrs Theod o re O Yntema

Dr. and Mrs J D ZeBranek

DONORS

An o nymous

Dr. and Mrs R o byn J. Arringt o n

Ms. H o rt e nse Herman Axelroad

Mr. and Mrs James Merriam Barnes

Mr. L. Karl Bates

Mrs . J.D. Capano

Rose Cooper

Mr. and Mrs. Frank Donovan

Mr. and Mrs E. Jan Hartmann

Mr. and Mrs. Henry Clyde Johnson

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Mr. and Mrs. Leonard T Lewis

Mr and Mrs. Walton A Lewis

Dr. and Mrs. Robert M Lugg

Mr. and Mrs. Joseph Maniscalco

Mr. and Mr s. John McDougall

Mr . and Mrs . Richard D . O'Connor

Jack E. Perry

Mr. and Mrs John Riccardo

Slotkin Foundation

Mr. and Mrs. Harold L. Smith

Mr. and Mrs. Frank D Stella

Mr. and Mrs Mark Chancellor Stevens

Mr and Mrs Harold G. Warner

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Mr. and Mrs. R. Jamison Will iams

Hon . and Mrs. G. Mennan Williams

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Mr. and Mrs Felix T Adams

Mr. and Mrs William J Adams

Dr and Mrs Roger M. Aj luni

E Bryce and Harriet Alpern Foundation

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Dr. and Mrs Allan A. Ash

Warren W Austin

Mr. and Mrs . Harry F . Banks

Mr. and Mrs. Morton Barak

Mr . and Mrs . Harry F. Barr

Mrs . Carl O . Barton

Dr. and Mrs Joseph S. Bassett

Margaret Beauregard

Mr and Mrs Bennett Bidwell

Dorothy and Solomon Bienenfeld

Mr. and Mrs. Albert Blackmon

Dr. and Mrs Norman Bolton

Mr. and Mrs. Henry S Booth

Kathryn V. Bovard

Mr. John F. Bowen

Dr. and Mrs Sander J Breiner

Alpha G. Brown

Mr. and Mrs . J . Lawrence Buell, Jr.

Roy and lise Calcagno

Mr. and Mrs. Martin Caserio

Jo Ann Cheek

Mr. and Mrs . Donald A. Cobb

Mr. and Mrs Angelo Colasanti

Janet B Co o per

Dr. and Mrs. Ralph R Cooper

Mr. and Mrs. Rodkey Craighead

Mary Rita Cuddohy

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Mr. and Mrs. Samuel D'Angelo

Mr. and Mrs. James P Diamond

Dr. and Mrs . Paul J . Dzul

Stewart Epstein

Mr. and Mrs Elliott M. Estes

Dr. and Mrs. Herbert S. Feldstein

W Hawkins Ferry

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Mr. and Mrs. Charles T Fisher, III

Mrs. Elizabeth B Fisher

Evelyn J Fisher, M.D

Mr. and Mrs Anthony C Fortunski

Charl,es G. Fossati

Mr and Mrs Douglas A Fraser

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Hugh Griffin

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Mr. and Mrs. W. Paul Hoenle

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IS APmL liD -raE

ONLYftIIE EVER HEARS YOU?

It shouldn't be. Because there's more to Washington than sending money at income tax time You can tell them what you think. And if April 15th is the only time Washington hears from you , you 're missing out on a great opportunity. The opportunity to speak up about something that's important to you Like energy conservation. Education Or the rising cost of living. Because if it affects your life , it's worth telling your government officials.

That's what they 're there for. And that's the only way they're going to know how you feel. Whatever the issue, they want to help. Face it, good ideas need to be heard to be effective And you can be heard

Get to know the names of your government officials Let us send you a free booklet that lists them all. Just write: Public Affairs, The Budd Company, 3155 West Big Beaver Road, Troy, Michigan 48084

Write today Don't make April 15th the only time Washington D.C. ever hears from you

Jefferson L. Jordon

Captain Robert G Kales

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Dr . Howard Weissman

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Eugene L. Wielock

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Women's City Club of Detroit

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CONTRIBUTORS

Ann B. Adams

Miss Emily Adams

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Mr. and Mrs . Charles M. Appel

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Marvin V Arnett

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Elizabeth R Axelson

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Mr . Frederick G . Bahr

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Elizabeth J Balas

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Robert Barnhart

Mr. and Mrs . Jul ius Becker

Ms . A. Beecher

Mr. and Mrs Howard L. Beer

Mary L. Bell

Russell N. and Lurray A. Bell

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Dr. and Mrs. Lary Berkower

Dr. Andrew H. Berry

continued on page 103

BENEFACTORS

American Natural Resources

The Bendix Corporation

Burroughs Corporation

Chrysler Corporation

The Detroit Edison Company

Ford Motor Company

General Motors Corporation

Hudson's

K mart Corporation

Michigan Bell Telephone Company

National Bank of Detroit

Corporate Support

SUSTAINERS

Allied Chemical

Detroit Bank and Trust Company

Federal-Mogul Corporation

LaSalle Machine Tool, Inc

Maccabees Mutual Life Insurance Company

Manufacturer ' s National Bank of Detroit

Montgomery Ward and Company

Sears, Roebuck and Company

The Stroh Brewery Foundation

SPONSORS

BASF Wyandotte Corporation

Borman 's, Inc.

The Budd Company

Consumers Power Company

Copper and Brass Sales , Inc.

Eaton Corporation

Firestone Tire and Rubber Company

First Federal Savings and Loan Association of Detroit

Handleman Company

Hiram Walker and Sons , Inc.

IBM Corporation

LOF Plastics, Inc.

F. Joseph Lamb Company

Peat , Marwick, Mitchell and Company

Rockwe U International Corporation

Ross Roy, Inc.

J . Walter Thompson Company

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Ziebart International Corporation

DONORS

Arthur Andersen and Company

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Hertzberg, Jacob and Weingarten

Inmont Corporation

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Kroger Company

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C A Muer Company

Touche Ross and Company

Uniroyal, Inc

Winkelman's

PATRONS

Advance Mortgage Corporation

B/W Controls, Inc.

Cleaners Hanger Company

DAB Industries, Inc.

Detroit Plaza Hotel

Douglas and Lomason Company

Ernst and Whinney

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Michigan Mutual Insurance Company

Michigan National Bank - North Metro

Price, Waterhouse and Company

Security Bank and Trust Company

Sheller-Globe Corporation

Sperry Vickers

Stage Employees Local #38 IA TSE

F . D. Stella Products Company

Surety Federal Savings and Loan Association

TRW, Inc.

UAW SEMCAP

Walton Pierce

Jervis B. Webb Company

Wyandotte Paint Products Company

Copyright 2010, Michigan Opera Theatre

CONTRIBUTORS

Campbell -Ewald Company

Charlie's Raw Bar

Dearborn Inn

Delta Model Corporation

DuMouchelle Art Galleries Company

Gail's General Office Supply

Harley Ellington Pierce Yee Associates

Hygrade Meats

Knudsen's Danish Bakery

Pontchartrain Hotel

Saks Fifth Avenue

Shiek Restaurant

Sinbad's

Somerset Inn

Patronage Levels

Contributor ...... $25-$99

Patron . ........ $100-249

Donor $ 250-499

Sponsor $ 500-999

Sustalner $1,000-2,499

Benefactor. $ 2,500 and above

Alexander Borodin, the great Russian composer, excelled in science as well as in the world of music. To a remarkable degree he combined scientific skills with brilliance in musical composition.

Science was Borodin's major concern in the early stages of his career. As a chemist his research was widely recognized and honored. As a medical doctor he pioneered in opening medical training to women. As an administrator he demonstrated outstanding skill in business.

Yet Borodin was drawn to music as by a magnet. Even while involved with test tubes and Bunsen burners he found time to create symphonies and string quartets. His "Prince Igor" became an immensely popular folk opera.

Borodin's major goal was excellence--in science and in music He was dissatisfied with lesser achievements. He demonstrated a factor which the business world and the performing arts have in common- - an unwavering devotion to the best that a person can contribute to h is or her chosen fie lld.

The pu rsu it of excellence fosters greatness in the operatic world. Artists, directors and musicians who fail to work toward perfection are relegated to lesser places. Excellence is the final test!

The competitive worl'd of business makes excellence a central concern. Planning, engineering and manufacturing each contribute to make superior products. In many companies this urgent desire for the best is shared by personnel at every level of production and distribution.

For business and industry--as for opera, symphony and drama--excellence is the final test!

CARLISLE fLOYD

Music Drama in Three Acts

September 26, 28

October 1, 3, 4, 1980

libretto

Carlisle

after the novel and play by John Steinbeck conductor

John DeMain director

Carlisle

lighting

Robert Jared

scenery

Jules Lauve for the Nevada Opera Association

reduced orchestration

James Medvitz

costumes

Bonnie Whalen

by arrangement with Belwln·Mills Publishing Corporation, New York publisher and copyright owner

THE CAST

Lennie Small

Moulson - September Busse - September

George Milton .... Lawrence Cooper

Curley James Longacre·

Candy Jack Bittner

Curley's Wife .... Wakefield

Slim Louie

Ballad Singer Kevin

• Member, MOT Artist Intern

Copyright 2010, Michigan Opera Theatre

WHO'S WHO

LENNIE is a California m igrant worker , slow -witted and ch ild li ke by nature but physic a lly very strong . GEORGE , another migrant worker , has become his close friend and protector. The third central character is CURLEY'S WIFE - attractive , flirtatious and bored CURLEY owns the ranch on which much of the act ion takes place ; SLIM is his foreman and CANDY is an old ranch hand .

THE STORY

ACT ONE: The opera begins with flashing searchlights and the wail of police sirens as George and Lennie enter , fleeing from another in a se ries of situations caused by Lenn ie ' s pathetic inability to stay out of trouble . The exasperated George finds that Lennie is carrying w ith him the body of a mouse he aCcidentally killed by stroking it too forcefully. While George disposes of the dead mouse , Lennie describes his love for soft th ings he can stroke and pet. In order to console his friend , George reminds him of their common dream : to own a small house and farm of their own . Lennie , unable to restra in his excitement , joins George in remember ing the many details As the two men settle down for the night , a police siren wails ominously in the distance

The scene shifts to the bunkhouse on Curley's ranch the following evening, where Curley and his wife are arguing She complains that he is neglecting her , and threatens to find someone else to treat her better. He orders her to go back to the house and forbids her to enter the bunkhouse again . The building fills with ranch hands - among them George and Lenn ie , who have just been hired Slim , the stalwart ranch foreman , announces a new litter of puppies and , as the men clamor for them , Curley 's wife reappears She pretends to be looking for her husband while flirting brazenly with the embarassed workers .

When she is gone , the ranch hands begin harassing Candy to give up his old dog, whose smell is becoming unbearable in the bunkhouse . Candy is finally forced to surrender the dog , which is taken out and shot. A young ranch hand comforts the old man by singing a lonely ballad as Lennie pleads with a distressed George for one of Slim ' s puppies.

ACT TWO: George finds an ad in the newspaper offering a small house and farm for sale Rebuffing Slim ' s attempts to gently discourage the dream , George reads the ad to Lennie , who is playing w ith his new puppy Overhearing the conversation , Candy offers to join in their plans , contributing his own savings toward the purchase price With mounting enthusiasm the three men calculate that they will be able to purchase the property in just one month

The merriment stops abruptly when Curley ' s wife returns and refuses to leave despite the men ' s warnings When Curley returns and finds her there , he takes out his anger on Lennie , lashing out at him with a riding crop When George shouts to Lennie to protect himself , Lennie crushes Curley's hand After the room empt ies , George , Lennie and Curley are alone again , re -reading the want ad that represents their fad ing dream

ACT THREE : Lennie ha s killed his puppy through e xcessive fondling,

Friends of the Program Book

Mr. and Mrs Henry S Booth

Robert S Boris

David Boulton

Ruth E Bozian

Mr. and Mrs Gerald Bright

Mr. and Mrs . J . Lawrence Buell , Jr .

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Edward Chupka

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Mr. and Mrs . John W . Day

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Virginia F . Dickson (Mrs . James E .)

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DuMouchelle Art Galleries Company

Dorothy Dur is

Mr. and Mrs Peter P Dus ina , Jr

Jan & Joel Ebersole

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Copyright 2010, Michigan Opera Theatre

and is hiding it in the loft of the barn when Curley's wife enters , carrying a suitcase and obViously preparing to run away She and Lennie begin to confide their dreams and fantasies, each caught up and unaware that the other is speaking . She wants to become a glamorous mov ie star ; he wants a farm with pets to stroke . When Lennie is attracted to her soft , smooth hair, Curley ' s wife allows him to stroke it. When he refuses to stop , however , she becomes frightened Lennie , terrified of being found with her , tries to smother her screams and then , shaking her violently in anger , breaks her neck . Dimly realizing what he has done, Lennie furtively leaves the barn

The body is discovered by Candy , who calls George and Sl im to the scene . Slim urges George to find Lennie and shoot him , since the only alternative is his capture at the vengeful hands of Curley Candy curses the body of Curley ' s wife as George brokenly exits in search of his friend .

George finds Lennie in a nearby clear ing , st ill unaware of the magnitude of their problem this time Distracting the childlike man by describ ing again their dreams of a farm , George finally succeeds in fir ing the pistol and killing his friend at the moment Lenn ie ecstat ically imag ines he sees his house and farm in the distance The ranch hands converge on the two lonely figures and the Ballad Singer whistles a fragment of his song as the curtain falls

Mr and Mrs William H Ehlhardt

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Louis and Philomena Gasparott

Mr and Mrs Alfred R Glancy III

Mr. and Mrs George Gravila

Mr. and Mrs . Paul Groffsky

Harriet Helms

Mr. and Mrs Robert J House

Mr. James C Howard

Mr. and Mrs Henry Clyde Johnson

Nina T Johnson

THE SCENE

An agricultural valley in northern California

ACT ONE

Scene One: a clearing in the woods

Scene Two: the bunkhouse

intermission

ACT TWO

the bunkhouse

intermission

ACT THREE

Scene One: the barn

Scene Two: a clearing in the woods

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George and Lennie, the doomed drifters John Steinbeck created in Of Mice and Men, have become an Integral part of the American folklore, as emblematic of One aspect of our national identity as Tom Sawyer, George Babbitt or Daniel Boone are of others The original novel - published In February, 1937 - went through eight hardback editions in just five years Five different paperback editions have subsequently amassed an impressive 208 printings.

Steinbeck's theatrical adaptation of his own novel appeared hard on the heels of the original book, opening on Broadway in November, 1937, with a cast headed by Broderick as Lennie, Wallace Ford as George and Claire Luce as Curley's Wife. It won the New York Drama Critics Circle Award as Best Play that season and is still - 43 years latera consistent fa-Jorite with theatre groups across the world. It has been adapted for film and television and received a major Broadway revival several years ago with Kevin Conway and James Earl Jones in the central roles _

Carlisle Floyd began thinking about an opera based on Of Mice and Men in 1%3, after reading the Steinbeck original. Two years later, when San Francisco Opera General Director Kurt Herbert Adler offered the composer a commission to create a new opera and suggested Steinbeck as a libretto source, the coincidence must have seemed a happy omen_ Funded by the Ford Foundation, Floyd set to work_

MOT,

"I can safely say that no other work of mine has been as problematic, as trying, and occasionally as disheartening as Of Mice and Men," Floyd was to write In retrospect - adding that "as is sometimes the case with difficult and willful children, no other opera gave me as much pleasure once it was finished ."

The first version of the libretto, finished by the summer of 1966, adhered very tightly to the Steinbeck original. The result, according to the several opinions Floyd trusted most, was a dull, static work with a few attractive moments. Determined to salvage the project, the composer/ librettist pulled back for a fresh perspective. "I realized finally," he says, "that I had misled myself Into thinking Steinbeck had already done most of my work for me by writing a book so stripped of nonessentials. The result was a libretto which had totally failed to convert the book into an opera; mine was essentially just another dramatization . . . for the spoken rather than the lyric theatre." .

Floyd set to work again - this time without referring back to either the book or the play. This new freedom allowed him to isolate the single, simple dramatic thrust of the story and then to recreate it in uniquely operatic terms. For example, the opening scene of the original version has a languid, almost pastoral quality as the two men bed down for the night in a field. By adding sirens, search lights and the men's attempt to avoid the police, Floyd was able to launch the opera musically at a more fevered pitch. The Act One, Scene

Two argument between Curly and his wife and the use of a newspaper want ad to make tangible the dream of a home are also Floyd inventions which proved essential in translating Of Mice and Men into operatic form.

One change, however, did not survive the rehearsal process. The composer added a scene set in a local

brothel in which George - despite the scorn of the madam, the girls and the other ranch hands - refuses to spend any of the money he and Lennie are saving for their farm. Set and costumes were ready and ladies of the chorus were relishing their new roles when It became apparent to Floyd and director Frank Corsaro that the scene served no purpose except to retard the action by repeating themes and attitudes already well established So two arias were moved elsewhere and the rest of the scene was scrapped:

The music for the second version of Of Mice and Men was completed in late 1968, the scoring in November, 1969, and the Seattle Opera presented the world premiere on January 22, 1970. It has garnered critical praise and audience ovations ever since, Including a bicentennial revival In Seattle in Fall, 1976. It has been staged by opera companies In St. Paul, Boston, San Francisco, Cincinnati and Central City, Colorado The Houston Opera mounted a major production in May, 1977, which subsequently traveled to the Kennedy Center in Washington, DC, and to New York City.

Of Mice and Men has been heard in major European cities, both in English and in German. It was performed in June, 1976, at the Holland Festival, allowing audiences in Amsterdam, Rotterdam and The Hague to see It as The Netherlands salute to the American bicentennial.

Probably the greatest characters in opera are those - such as Violetta, Don Giovanni, Otello, Faust - who have established a universal appeal to readers and audiences alike in a number of different art forms over long periods of time. George and Lennie seem destined to become a uniquely American addition to that distinguished roster.

WE APPLAUD YOUr

Copyright 2010, Michigan Opera Theatre

MOT Outreach

The growth of MICHIGAN OPERA THEATRE has had a cultural impact far beyond the geographic limitations of our Music Hall audiences Nationally televised productions of Most Happy Fella and The Tender Land have made the entire nation aware that Detroit has given birth to a major opera company. The Tender Land alone was viewed by 1,640 , 000 households across the nation during its first telecast over 175 PBS stations'

MATRIX:

1976-77

THE MAGIC FLUTE

Mozart

1977-78

In the State of Michigan, MOT's Opera -In Residence program has brought profess ional productions to such towns and cities as Alpena , New Baltimore , Muskegon , Traverse City, Petosky, Holland, Iron Mountain , St . Joseph, Benton Harbor , Kalamazoo , Battle Creek , livonia, Allen, Dearborn , Saginaw, Lansing , and Midland.

Each city hosts a resident company of singers , music director , costume designer and stage technicians for a period of a week, during which the company works closely with local educators and community leaders to

involve as many residents as possible in the various aspects of opera production. Local people attend workshops and lecture demonstrations, participate in all rehearsals and finally constitute chorus, orchestra , supers and stage technicians for a fully staged and costumed production

Last season's Opera - in-Residence tour of Don Pasquale, plus the oneact opera The Impresario, was so successful that applications for the coming tour far exceeded our capabilities under present state funding. The difficult task of selecting host cities for 1980-81 is currently underway.

MADAME BUTTERFLY Pu ccini

RITA

Do n;zetti

RUMPELSTIL TSKIN

Dauid & Kore n DiChie m

1978-79

THE WANDERING SCHOLAR

Holst

THE LITTLE RED RIDING HOOD

8 0rab

LA TRAVIATA

Ve rdi

1979-80

HANSEL AND GRETEL

Hum p e rdfnck

RUMPELSTILTSKIN

Dauid & K ore n DiC hle ro

THE IMPRESARIO

Mo za rt

DON PASQUALE

Do nizelt l

D o n izeW

THE TELEPHONE

1980·81

DIE FLEDERMAUS

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GJJ(NlVEl?§ITY c?v1USICAL WeIElY ANNOUNCES

Choral Union Series (Hill Auditorium/8:30)

Mstislav Rostropovich, Cel/ist

Toronto Symphony Orchestral Andrew Davis

San Francisco Symphony Orchestral

Edo de Waart

Martti Talvela, BaJSo

Sun. Oct. 12

Tues. Oct. 21

Sat. Oct. 25

Sun. Nov. 16

Los Angeles Philharmonic/Carlo Maria Giulini Sun. Nov. 23

Ru d olf Serkin, Pianist Mon. Dec. 15

Pinchas Zukerman, Viollnift & Vialift

Tues. Jan. 27

Oxana Yablonskaya, Pianist Sat. Feb. 7

Pittsburgh Symphony Orchestral

Andre Previn

Thurs. Mar. 19

Leipzig Gewandhaus Orchestral Kurt Mazur Sun. Mar. 29

Chamber Arts Series (Rackham A uditorium!8: 30 unless noted)

Smithsonian Chamber Ensemble

Academy of St. Martin in the Fields ..........

Kenneth Gilbert, Harpsichordist

Kalichstein-Laredo-Robinson Trio

Music from Marlboro

Guarneri String Quartet

INTERNATIONAL PRESENTATIONS 1980-1981

Series and single tickets available. Single tickets from $3-$12.50. Brochure with complete information available upon request. Contact University Musical Society, Burton Tower, Ann Arbor, Michigan 48109. Phone (313) 665-3717. Performances are on the main campus of The University of Michigan. Ample concert parking.

Tues. Oct. 14

Mon. Nov. 3

Sat. Nov. 15

Thurs. Nov. 20

Thurs. Jan. 29

Thurs. Feb. 19

New York Chamber Soloists (2:30) Sun. Mar. 15

Guarneri String Quartet

Mon. Apr. 20 with David Shifrin, Clarinetist: Gyorgy Sandor, Pianist

Debut and Encore Series (Rackham Auditorium/8:30)

Anthony di Bonaventura, Pianist ............. Sat. Oct. 18

Murray Perahia, Pianist

Thurs. Nov. 13

Horacio Gutierrez, Pianist Wed. Jan. 14

Walter Berry, Baritone Sat. Mar. 7

Choice Series (Power Center/8:00 unless noted) (choose any 4 or 8 dates for a series)

Goldovsky Opera Company ...... Mon. & Tues. Oct. 6 & 7 Rossini's Barber 0/ Senile (in English)

Ballet Folklorico Mexicano

Thurs. Oct. 9

Lar Lubovitch Dance Company .. Tues. & Wed. Oct. 28 & 29

The Fd d Ballet Mon.-Wed. Nov. 17-19

Caribbean Carnival of Trinidad Fn. Nov. 21

New Swingle Singers ........................ Fri. Dec. 12

Pittsburgh Ballet Theatre ........... Thurs.-Sat. Dec. 18-20

Tchaikovsky's Nutcracker Ballet 0:00, Sat. Dec. 20; eve. Sat. Dec. 20)

Royal Ballet of Flanders ..... . ... Wed. & Thurs. Mar. 4 & 5

Alvin Ailey Dance Theatre Mon.-Wed. Mar. 9-11

Western Opera Theater Thurs. Apr. n

Donizetti's Elixir 0/ Lote (in English)

Special Concerts (Hill Auditorium!8:30 unless noted)

Julian Bream, Guitarist Mon. Nov. 10

Handel's Messiah ....................... Fri.-Sun. Dec. 5-7 (2:30) Sun. Dec. 7

Founder's Concert (2:30) Sun. Feb. 15

Preservation HallJazz Band ................. Mon. Mar. 23

Copyright 2010, Michigan Opera Theatre

., Excellent service and grear food gracious and fri en dly atmosphere." Your lobby is bea utiful."

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MICHIGAN OPERA THEATRE ORCHESTRA - 1980

FIRST VIOLIN

Charlotte Merkerson , Concertmast e r

Patricia Karakas

Mary Catherine Edwards

Cathy Spratt

Paula Kibildis

Francis Peterson

SECOND VIOLIN

Peruz Zerounian, Prin cipal

Wilma Turco

Phyllis Fleming

Lina Carc one

VIOLA

Ara Zerounian, Principal

Gary Syroid

Margaret Lang

Meyer Shapiro

CELLO

Laura Deming , Principal

Minka Christoff

Debra Mulder

Pamela Bush

DOUBLE BASS

Laura Sias, Principal

Marion Wengert

FLUTE

Wendy Hohmeyer, Principal

Dayna Hartwick

PICCOLO

Dayna Hartwick

OBOE

Paul Amorello, Principal

Mae Wong

ENGLISH HORN

Mae Wong

CLARINET

Joel Warren , Principal

CarolOber

BASSOON

Pamela Dion, Principal

V

ic toria King

HORN

John Dion , Principal

Karen Nixon

TRUMPET

James Underwood , Principal

Gordon Simmons

TROMBONE

Maury Okun , Principal

Gregory Near

TIMPANI

Donald Liuzzi

PERCUSSION

Leslie David

HARP

Patricia Terry

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Copyright 2010, Michigan Opera Theatre

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Copyright 2010, Michigan Opera Theatre

IMEIIAS COMEI

We've made our community a better place to live by sponsoring musical events, concerts, art fairs ... all types of activities for you to participate in and enjoy. We've pledged ourselves to use our station to help promote and improve Detroit's exciting, cultural lifestyles.

We're excited about the prospects we've outlined, and proud to be an important part of Detroit's cultural spirit. We are determined to reflect that pride back to you. Detroit, our time has come.

Copyright 2010, Michigan Opera Theatre

WOLFGANG AMADEUS MOZART

Opera in Two Acts

October 10, 12, 15, 17, 18, 1980

In English

libretto

Lorenzo Da Ponte

English version Ruth and Thomas Martin by arrangement with Boosey and Hawk es. inc publishers and copy right owners

conductor

Mark D Flint director

Italo Tajo sets

Paul Shortt for the Cincinnati College

Conservatory of MusiC

costumes

Malabar , Ltd.

Toront o

lighting Marilyn Rennagel

THE CAST

Leporello Pierre Charbonneau

Donna Anna Carolyn Val-Schmidt - October 10, 12, 17

Doralene Davis - October 15, 18

Don Giovanni Andreas Poulimenos - October 10 , 15 , 18 Marc Embree - October 12, 17

The Commendatore Paul Schmidt·

Don Ottavio Robert Guarino

Donna Elvira .. .. Wilhelmenia Fernandez

Zerlina Mary Callaghan Lynch

Masetto Michael van Engen·

• Member , MOT Artist Intern Program

THE SCENE

Seville, Spain, in the mid-seventeenth century

ACT ONE

Scene One: outside the Commendatore's palace

Scene Two: a street

Scene Three: Don Giovanni's palace

Scene Four: a garden nearby

Scene Five: Don Giovanni's ballroom

intermission

ACT TWO

Scene One: beneath Donna Elvira's window

Scene Two: a dark courtyard

Scene Three: a cemetery

Scene Four: Donna Anna's home

Scene Five: Don Giovanni's palace

Scene Six: the ruins of the palace

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MOT Artist Interns

Jeff Allyn

George Bufford

Holly Cairns

Vertrelle Cameron

Peter Clegg

Michael Doll

Coleen Downey

James Longacre

Carol Madalin

Robert Mince

Anne Nispel

David Parks

Maggie Rees

Paul Schmidt

Kevin Skiles

David Stork

Ross Stutzman

Michael van Engen

MOT Auxiliary Chorus

Marie Fiorillo

Elizabeth A. Mar-Aston

Leslye Sklar

Anna Speck

Robert Winston Sullivan

Hezekiah Williams

DON GIOVANNI is history's most notorious libertine, moving from conquest to conquest through 17thcentury Spain with the sometimes reluctant assistance of his servant LEPORELLO . Mozart's great opera examines the title character's effect on six people variously concerned · with their own (and each other's) honor.

DONNA ANNA - noble and highly moral is outraged at Don Giovanni's seduction attempt. Her honor is defended by her father, the COMMENDATORE of Seville, who Is slain in the ensuing duel. DON OTTAVIO is Donna Anna's fiance; his honor requires him to avenge her humilation and her father's murder.

DONNA ELVIRA Is a Spanish noblewoman who has already lost her virginity to Don Giovann I. Her honor dictates that he be punished; this is complicated, however, by the sexual desire he has awakened In her.

Don Giovanni's lust and its destructive effect cut through class lines with impunity. Thus ZERLINA, a young peasant woman celebrating her forthcoming marriage to MASETTO, finds It necessary to defend her own concept of honor - as well as her fiance's - once she has attracted Don Giovanni's attention

ACT ONE: The opera opens in a garden by the Commendatore's palace , where Leporello is waiting for his master and complaining about his duties. In a sudden commotion Donna Anna and Don Giovanni enter from her bedroom, which he has· entered to seduce her She is crying for help; he is trying to conceal his identity until he can escape. She finally runs off without seeing her attacker's face

Don Giovanni is immediately confronted by Donna Anna 's father, the Commendatore, who challenges him to a duel. Giovanni refuses to fight so old a man, but the Commendatore insists and is qUickly slain . Giovanni and Leporello flee as Donna Anna returns with her fiance , Don Ottavio . Finding her father murdered by the unknown intruder, she makes Ottavio swear vengeance

The next morning Leporello attempts to lecture his master on his

excesses. He Is Interrupted when Don Giovanni senses a woman approaching and hides to eavesdrop. The two men hear Donna Elvira bemoan her unhappy fate: seduced, abandoned, and left to seek the man responsible - either for marriage or for revenge. Don Giovanni comes out from hiding to offer help, only to realize that he is the guilty party! He distracts her attention and escapes, leaving Leporello to discourage her by describing the extent of his master's conquests: 640 in Italy, 231 in Germany, 100 In France, 91 in Turkey and 1,003 in Spain.

Don Giovanni and Leporello next come upon Zerlina and Masetto, who are to be married that day. The nobleman takes a fancy to Zerlina and invites all the peasants to his home for a celebration. Leporello and his master finally force a reluctant and suspicious Masetto to go off, leaving Giovanni alone with Zerlina. The nobleman begins his seduction by promising to marry Zerlina and make her a great lady if she'll only go with him. Zerlina wavers and has finally agreed when Donna Elvira comes upon them and, over Giovanni's strenuous objections, takes the thoroughly bewildered Zerlina away to safety.

Donna Anna and Don Ottavio come to request Don Giovanni's assistance in finding her father's murderer. Donna Elvira returns to reproach him but Giovanni, relieved that Anna does not recognize him and dismissing Elvira as a mental case, goes off. Suddenly a horrified Donna Anna recognizes his voice as that of her father's murderer. She paSSionately describes the events of that night and again calls on her fiance to avenge her. Don Ottavio promises to share her burden and discover the truth .

After their departure, an exuberant Don Giovanni prepares for his party, ordering Leporello to keep the wine flowing and promising twelve new conquests by dawn.

En route to the party, Zerlina tries to appease Masetto's anger at her apparent infidelity. After a sort of unintentional "hide and seek" with the jealous Masetto, Don Giovanni ushers In all his guests. He even has Leporello invite Donna Anna, Donna Elvira and Don Ottavio, who arrive masked, determined to punish the libertine.

As three different dances proceed, Leporello distracts Masetto while Don Giovanni entices Zerlina Into another room. Her subsequent screams lead Anna, Elvira and Ottavio to unmask and confront Giovanni with accusations of his crimes. Giovanni jublilantly escapes, fending off Ottavio's drawn sword, as the curtain falls .

ACT TWO: Under Donna Elvira's balcony, Leporello and Don Giovanni exchange cloaks so that Elvira will follow the servant. The ruse works, Leporello and Elvira go off in the dark, and Giovanni is free to serenade Elvira's maid When Masetto and a band of peasants appear In search of Don Giovanni, he pretends to be Leporello, sends them off in several directions, and then beats up Masetto. Zerlina rushes to console her fiance .

Leporello is trying to Jose Elvira in the dark when Donna Anna, Don Ottavio, Zerlina and Masetto appear, eager to punish the supposed Don Giovanni despite Elvira's sudden protests. Leporello discloses himself to be only the servant , promises to help them and then escapes in the confusion

Giovanni and Leporello meet in a deserted cemetery by the tomb of Donna Anna's slain father. A newly erected statue of the Commendatore suddenly speaks, warning Giovanni of his doom Leporello is terrified, but his master defiantly orders him to invite the statue to dinner, and the statue solemnly accepts.

In Anna's palace, Ottavio urges her to forget her grief and accept his love, but she Implores him to wait until her father is avenged.

Meanwhile, Don Giovanni and LeporeJlo are completing supper arrangements as an orchestra plays a medley of tunes from popular operas (Including Mozart's own "Le Nozze de Figaro"). Elvira rushes in, begging Giovanni to reform, but he mocks her . As she is leaVing she suddenly screams , and Leporello is sent to investigate He returns, terrified, announces that the statue has arrived , and hides . Don Giovanni bravely greets the statue, which offers him a chance to repent. When he refuses, the statue leads him into hell. The other characters converge on the scene to make plans for the future and underline the moral : sad Is the fate of a libertine.

Opera at its finest represents an amalgam of all the arts, and many of its greatest works have traced circuitous routes through other art forms before finding places on the opera stages of the world Indeed, each of the four operas in Mich igan Opera Theatre's tenth anniversary season has passed through not one but several earlier incarnations before being molded into the forms we now know

With Die Fledermaus, Of Mice and Men and Rigoletto, the path from original creation to operatic adaptation was a fairly simple one - even when , as with Fledermaus , it meandered through several countries and cultures en route With Don Giovanni, however , the gen ius of Mozart and the eternal fascination of the character himself combine to make the tracing of literary or dramatic roots a complex task

Don Juan Tenorio's first published appearance was in El Burlador de Sevilla, a play of the early 1600s by the Spaniard Tirso de Molina Burlador is an almost untranslatable word suggesting a sexual trickster or gamesman - which would indicate that the character of Don Giovanni himself was already well established in this earliest version of his life and times Molina's play also included Dona Ana, Don Octavio and the Comendador , whose statue came to life as an instrument of retribut ion

The character of Elvira was grafted onto the basic story by Moliere in his 1665 play Le Festin de Pierre , as was Zerlina , who replaced a fisherwoman and a shepherdess in the earlier version. So popular had the legend become by 1676 , when another version by Shadwell ca.lled The Libertine was produced in England, that London audiences were assured the story was "famous all over Spain, Italy and France ."

Carlo Goldoni , Italy's leading playwright , added Don Giovanni Tenorio o sia il Dissoluto in 1736 ; but his most important contribution to Mozart's later masterpiece was a question of style rather than plot or characters. It was Goldoni who first combined "serious " opera, with exc1usivelynoble characters and important themes , and "buffo" opera (servants and peasants in comic situations) , added a few roles that lay somewhere in between , and called the resulting hybrid "Dtamma Giocoso " - the label which Mozart later chose to apply to his own Don Giovanni. It is this middle line between comic and tragic, noble and base, sentimental and cynical that probably represents Mozart's own greatest contribution to the legend of Don Juan.

Mozart did not , of course, create Don Giovanni alone. It was his second collaboration with librettist Lorenzo Da Ponte , and it came about because of the great success in Prague of their first joint effort, The Marriage of Figaro Hoping to capitalize on the public's enthusiastic reception of Figaro , company director Pasquale Bondini commissioned Mozart and Da Ponte to create another opera

Da Ponte was an Italian Jew who later became a Catholic priest, a notorious womanizer and a literary lion in Vienna After his collaborations with Mozart he emigrated to the United States, becoming a grocer in New Jersey and a professor at Columbia College. He died unknown at age 89 and, ironically, both he and Mozart lie today in unmarked graves, half a world apart.

In 1787 Mozart and / or Da Ponte (who always insisted the idea was his) became aware of a new one-act opera which had just premiered in Venice . Entitled Don Giovanni 0 sia II Convitato di Pietro, it had a book by Giovanni Bertati and music by Giuseppe Gazzaniga; it became the most direct model on which Mozart and Da Ponte worked - expanding it into two acts, eliminating several characters, greatly enhanCing the role of Donna Anna and audaCiously m ixing comic and tragic elements not only w ith in the same character, but w ithin the same moment.

Several legends have grown up around the opening performance of Don Giovanni at Prague ' s National Theatre on October 29, 1787 . One has it that Mozart composed the famous overture between midnight and three a m. on the eve of the first performance. Another better documented - has the composer greatly dissatisfied with Zerlina's offstage cry when the Don is attempting to seduce her. At the next rehearsal, Mozart hid himself in the wings and, when the soprano's cue came, pinched her resoundingly on the upper leg , causing her to shriek quite conVincingly "There," he said , "that 's how I want it!"

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Copyright 2010, Michigan Opera Theatre

MICHIGAN OPERA THEATREA DECADE OF ACHIEVEMENT

MICHIGAN OPERA THEATRE has its roots in OVERTURE TO OPERA, which began as an educational arm of the Detroit Grand Opera Association devoted to performing excerpts - in English - from the operas to be sung during the Metropolitan Opera's annual visit to Detroit , using local singers and working in schools and other public centers in the area.

Under the direction of Dr. David DiChiera , then chairman of the Oakland University Music Department , OVERTURE TO OPERA developed enthusiastic audiences wherever it appeared, and increasingly high professional standards. Eventually vocal and directorial talent was imported whenever a project required more experience than could be found locally, and the production of complete operas independent of the Met season began.

By 1970 , OVERTURE TO OPERA was taking full productions to such out-state cities as Flint , Grand Rapids , Midland and Alpena in addition to an expanding repertoire in Detroit. Clearly Dr . DiChiera was moving the company toward a solid separate ident ity as an independent opera company indigenous to Detroit with its own unique goals , priorities and ideas. The 1970-71 season at the Detroit Institute of Arts was a major step, with a Barber of Seville directed by Italo Tajo (back this season to direct Don Giovanni) and featuring Maria Ewing, the first in a continuing series of singers who have

worked with MOT en route to major international careers . The company was clearly established and ready to take flight. What was sorely needed was a home.

After a checkered career as legitimate theatre , symphony hall and movie house, the Music Hall had been empty for years when OVERTURE TO OPERA discovered it and arranged to use it on a temporary basis. Armies of volunteers led by Karen DiChiera cleaned, swept, scoured and polished as singers and musicians rehearsed and sets went up on the long-bare stage. OVERTURE TO OPERA which became MICHIGAN OPERA THEATRE two years later - had a home; and it is the tenth anniversary of that landmark season - Joseph and the Amazing Technicolor Dreamcoat and La Rondine - that we celebrate this year.

The cover to this year's program book features an Honor Roll of aU the productions involved in leading up to that first season, and all the works we have presented in the subsequent ten years It is unlikely that anyone in our Music Hall audience - no matter how dedicated - will remember each one ; several were performed at Matrix: Midland Festival of Arts and Sciences, and others were part of the Opera-InResidence touring program But many of our patrons will remember most of the operas featured and illustrated on the following pages

IT GIVES ME GREAT PLEASURE TO PAY TRIBUTE TO THE MICHIGAN OPERA THEATRE ON THE OCCASION OF ITS TENTH ANNIVERSARY. ROSALYNN AND I WISH YOU EVERY SUCCESS FOR YOUR NEW FALL SEASON AND FOR THE FUTURE.

THE MICHIGAN OPERA THEATRE HAS BEEN PARTICULARLY NOTED FOR ITS LEADERSHIP AMONG REGIONAL AMERICAN OPERA COMPANIES. YOUR OWN OUTSTANDING ACHIEVEMENTS AS ITS FOUNDER AND GENERAL DIRECTOR ARE REFLECTED IN YOUR NEW POSITION AS THE PRESIDENT OF OPERA AMERICA. YOU AND YOUR BOARD OF DIRECTORS AND THE THEATRE'S MANY SUPPORTERS AND FRIENDS CAN BE VERY PROUD OF ITS UNIQUE ACCOMPLISHMENTS IN GIVING DETROIT AND ALL OF MICHIGAN AN OPPORTUNITY TO ENJOY MUSIC THEATRE PERFORMANCES OF THE HIGHEST QUALITY , IN OFFERING SCORES OF TALENTED YOUNG AMERICANS A CHANCE TO PERFORM, AND IN EXTENDING THE OPERATIC REPERTORY THROUGH PRODUCTIONS OF MANY UNUSUAL WORKS ON THIS MILESTONE IN ITS PUBLIC SERVICE, THE MICHIGAN OPERA THEATRE CONTINUES TO BE A MODEL OF HOW OPERA CAN ENRICH THE LIVES OF ALL AMERICANS AND THE WELL-BEING OF OUR NATION. WE HOPE IT WILL PROSPER AND FLOURISH IN THE YEARS

1972·73

COSI FAN TUTTE

Mozart

TOSCA Puccini

THE TELEPHONE and THE MEDIUM Menotti

1971·72

JOSEPH AND THE AMAZING

TECHNICOLOR DREAM COAT

Webber and Rice

LA RONDINE

Puccini

THE PERFECT FOOL

Holst

1973·74

RIGOLETTO Verdi

MADAME BUTTERFLY

Puccini

MERRY WIDOW Lehar

The

1974·75

LA TRAVIATA

Verdi

BORIS GODUNOV

Mussorgsky

THE ELIXIR OF LOVE

Donizelti

OlE FLEDERMAUS Strauss

1975·76

PORGY AND BESS

Gershwin

LA BOHEME

Puccini

LUCIA Ol LAMMERMOOR

Donizetti

THE BARBER OF SEVILLE Rossini

Copyright 2010, Michigan Opera Theatre

1977-78

REGINA

Blitzste in CARMEN

Bizet

THE STUDENT PRINCE

Romberg

FAUST

Gounod

AMAHL AND THE NIGHT VISITORS

Menolti

1976-77

WASHINGTON SQUARE

Pasatieri

NAUGHTY MARIETTA

Herbert

THE MAGIC FLUTE

Mozart

1979

THE MOST HAPPY FELLA Loesser IL TROVATORE Verdi

LA BOHEME Puccini

JOAN OF ARC

Tchaikovsky

1978-79

THE PEARL FISHERS

Bizet SHOW BOAT

Kern

LA TRAVIATA

Verdi

I PAGLIACCI

Leoncavallo

THE EMPEROR JONES

Gruenberg

1980

DIE FLEDERMAUS

Strauss OF MICE AND MEN

noyd

DON GIOVANNI

Mozart

RIGOLETTO

Verdi

Board of Directors

David DiChlera, President

Michigan Opera Th ea tr e

Kurt Herbert Adler, Vice President

San Francisco Opera

Michael Bronson, Vice President

Me tropolitan Op era

Edward Purrington , Vice President

Tulsa Opera

Robert Driver, Secretary

Opera Theatre of Syracuse

Robert Herman , Treasurer

Greate r Miami Opera

Carol Fox

L y ric Opera of Chicago

Charles Fulmer

Minnesota Opera

Richard Gaddes

Opera The atre of SI. LouiS

David Gockley

Houston Grand Opera

Plato Karayanls

Dal/as Civic Opera

Lotli Mansouri

Canadian Opera Company

Glynn Ross

Seattle Opera

Beverly Sills

New York City Opera

Andrew Stewart

Kentucky Opera

Martin I. Kagan ,

Opera America

I C

Member Companies

Arizona Op era

Artpark

Ba ltimore Opera Company

Canadian Opera Company

Centra l City Opera

Charlotte Opera

Chautauqua Opera

Cincinnati Opera

Civic Opera of the Palm Beaches

Connecticut Opera

Dallas Civic Opera

Edmonton Op e ra

Festival Ottawa Opera

Florentine Opera o f Milwaukee

Fort Worth Op e ra

Greater Miami Ope ra

Ha waii Opera Theatr e

H ouston Grand Opera

Kentucky Ope ra

Lake George Opera Festival

Lyric Ope ra of Chicago

Lyric Opera of Kansas City

Metropolitan Op e ra

Michigan Opera Theatre

Minnes o ta Op era

Nevada Opera

New Orleans Op e ra

Opera Company of Boston

Opera Company of Philadelphia

Opera Memphis

Opera / Omaha

Opera Metropolitana, A C.

Opera Theatre of Saint Louis

Opera Theatre of Sy racuse

Pittsburgh Opera

Portland Opera

San Antonio Symphony / Opera

San Diego Op era

San Francisco Op e ra

Santa Fe Opera

Seatt le Opera

Sou th ern Alberta Opera

Tri -Ci ties Opera

Tulsa Opera

Vancouver Op e ra

Virginia Opera

The Washington Opera

Western Spring Opera

The Wolf Trap Company

Michigan Opera Theatre is proud to be a member of OPERA A MER

A and prouder still that Dr. David DiChiera has been elected to serve as its president

Copyright 2010, Michigan Opera Theatre

GIUSEPPE VERDI

Opera in Three Acts

October , November 1, 1980

In Italian

October 26, 29, 31, 1980

In English

libretto

Francesco Maria Piave

English Version

Joseph Machlis

by arrangement with Associated Music Publishers , Inc.

U.S agents for G. Ricordi & Company , Milan

conductor

W. Anthony Waters

director

Rhoda Levine

sets

James Merrill Stone Merrill Stone Assoc

costumes

Malabar, Ltd

Toronto

lighting

Curt Ostermann

The Duke of Mantua

THE CAST

Riccardo Calleo - October 24, November 1

Tonio DiPaolo - October 26, 29, 31

Rigoletto .. .. Charles Long - October 24, November 1

Rodney Stenborg - October 26, 29, 31

Count Monterone .... Paul Schmidt'

Sparafucile Matteo de Monti

Gilda Leigh Munro - October 24, November 1

Gwendolyn Bradley - October 26, 29, 31

Maddalena Alexandra Hughes

• Member, MOT Artist Intern Program

MOT Artist Interns

Jeff Allyn

George Bufford

Holl y Cairns

Vertrelle Cameron

Peter Clegg

Michael Doll

Coleen Downe y

James Longacre

Carol Madalin

Robert Mince

Anne NispeJ

David Parks

Maggie Rees

Paul Schmidt

Kevin Skiles

David Stork

Ross Stutzman

Michael van Engen

THE SCENE

Mantua , Italy , in the sixteenth century

ACT ONE

Scene One: the palace of the Duke

Scene Two: Rigoletto 's home intermission

ACT TWO

The palace intermission

ACT THREE

An inn on the banks of the Mincio

MOT Auxiliary Chorus

Larr y N. Bate

Johnathan Blackshire

Norman Brinkman

Fred Buchalter

Ed R Cartwright

Peter A Cartwright

Christian P. Caubet

Timothy Hanel

Robert Kinnear

Donald M. Matthews

Robert L. Morency

A Michael Sochacki, Jr.

Robert Winston Sullivan

Fred Turner

Hezekiah Williams

R ic hard L. York

WHO'S WHO

Rigo/etto unfolds within the court of the DUKE OF MANTUA, an arrogant libertine proud of his success with women . RIGOLETTO is the cynical, hunchbacked court jester ; his sharp tongue has earned him the enmity of everyone at court, but the Duke's favor protects him Unknown to the Duke and the court, Rigoletto has a daughter, GILDA, whom he keeps hidden away as protection from the evils of the worldespecially from the Duke's roving eye

The other father in the opera is COUNT MONTERONE, whose daughter the Duke has already seduced . SPARAFUCILE, a professional assassin, and his sister MADDALENA are the other principals in the unfolding tragedy.

THE STORY

ACT ONE: The curtain rises on a festive scene at court as the Duke of Mantua discusses a young girl of the town whom he, disguised as a poor student, has been wooing for several months He is distracted by the Countess Ceprano , dances with her and takes her off to a private room as his jester, Rigoletto, mocks her furious but helpless husband . When Rigoletto has gone, a courtier enters with a new bit of gossip : the hunchbacked jester is reportedly living with a beautiful young mistress!

Rigoletto returns with the Duke and uses the protection of his master's favor to increase his attacks on Count Ceprano , who joins with other courtiers to plot a vendetta against the jester. Suddenly Count Monterone forces his way into court to denounce the Duke for seducing his daughter. Rigoletto taunts the old man mercilessly and Monterone, as he is arrested, pronounces a curse on both the Duke and the jester The Duke laughs it off, but Rigoletto is terrified

SCENE TWO: Rigoletto 's supposed mistress is actually his daughter , Gilda, and he is hurrying from court to the house he shares with her , still

brooding on Monterone's curse. On his way he encounters Sparafucile , a professional assassin, who offers his services against Rigoletto's enemies. The jester dismisses him, however, reflecting that his own tongue is as sharp as the assassin's blade.

Gilda greets her father in their garden and asks about her mother. Rigoletto laments his wife's untimely death and explains that Gilda is now everything in his life Fearful for his daughter's innocence, he warns her nurse to admit no one to the house, then goes out. At once the Duke slips into the garden, bribes the nurse and declares his love to Gilda, who has admired him at church He teU her that he is "Gaultier Malde," a poor student, and leaves before being discovered as the enraptured Gilda lOVingly repeats his name.

Meanwhile Rigoletto is stopped in the street by the scheming courtiers; they ask for his help in abducting Count Ceprano's wife and carrying her to the Duke. Agreeing to help , Rigoletto allows himself to be blindfolded; he is then tricked into holding the ladder against his own house while the laughing courtiers enter and abduct Gilda, whom they suppose to be the jester's mistress. Realizing he has been tricked, Rigoletto tears off the blindfold, finds his daughter's scarf, remembers Monterone's curse, and collapses.

ACT TWO: The Duke has learned of Gilda's abduction and is fearful for her safety When his courtiers report that it was they who carried off the girl, and that she is now in the Duke's chamber, he rushes off to his new conquest.

Rigoletto comes in, searching for Gilda The courtiers , although surprised to learn that she is his daughter, continue to bar his way

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despite his threats and pleas for mercy Just then Gilda appears, dishevelled, and runs to her father, who orders the others to leave. Alone with Rigoletto, Gilda tells of the Duke's courtship and , of her abduction. As Monterone is led to the dungeon, Rigoletto swears vengeance for his daughter's defilement as Gilda begs her father to forgive the Duke

ACT THREE: Late at night, outside a lonely inn, Gilda is still trying to persuade her father that the Duke truly loves her. She is shocked when the Duke, laughing at the fickleness of women, arrives for an assignation with Maddalena, Sparafucile's sister . In the famous Quartet Maddalena and the Duke conduct a teasing seduction while the eavesdropping Gilda voices her despair and Rigoletto swears revenge.

Rigoletto sends Gilda off to disguise herself as a boy and flee to Verona He then hires Sparafucile to kill the Duke, arranging to return at midnight to claim the body.

A storm gathers and breaks as Gilda returns disguised as a boy and overhears Maddalena asking her brother to spare the Duke 's life Finally Sparafucile agrees to kill instead the next person who enters the inn and to substitute the body for the Duke ' s . Still in love despite her betrayal , Gilda decides to sacrifice herself to save her beloved She enters the inn and is stabbed

The storm has ebbed as Rigoletto returns to gloat over the body , which Sparafucile presents to him in a sack. Suddenly he hears the Duke's VOice, singing in the distance. Frantically opening the sack, he finds his daughter , who dies begging his forgiveness as Rigoletto cries out "Ah, the curse!"

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No one but Giuseppe Verdi himself had any enthusiasm for the prospects of a new opera based on Le rai s'amuse by Victor Hugo. The shocking and controversial play caused near riots at its 1832 Paris premiere and had been banned immediately after its first performance, not to be seen again on any stage for fifty years! (Human nature being what it is, of course, the scandal ensured that the printed script was well known and widely read.)

The controversy was largely caused by Hugo's presenting Le rai s'amuse as historic drama , based on events in the dissolute court of Francois I, King of France . It is the King's womanizing that creates the tragedy, and it is the King who, when Blanche (Gilda) seeks to avoid his advances by locking herself in a room of the castle, laughingly produces a key and goes in and rapes her.

The pandemonium created by this scene was nothing compared to what happened next, when the hunchback jester is rebuffed by the king's courtiers in his attempt to rescue his daughter. Addressing them by name as members of all the first families of France, the jester shrieks, "Your mothers gave themselves to lackeys . You are all bastards." Since members of those same families were sitting complacently in the boxes at the performance in question , the play's immediate banishment was virtually inevitable

Verdi was attracted to Le rai s'amuse, not by the radical politics of the piece, but by the tragic humanity of the central character: "this extremely deformed and ridiculous creature who yet is inwardly passionate and full of love." He described the court jester as "a crea-

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tion worthy of Shakespeare," and there could scarcely be higher praise from the composer of Macbeth, Otella and Falstaff.

Verdi and librettist Francesco Piave were commissioned by the T eatro La Fenice in Venice to create a new opera to premiere in February, 1851; despite Piave's grave apprehensions, Le rai s'amuse was chosen as the subject and the two set to work, planning to call the opera La Maledizione, or The. Curse. When the libretto was finished, however, and despite private assurances that there would be no objection, the censor rejected the project out of hand, noting his "profound regret that the poet Piave and the celebrated Maestro Verdi have not chosen some other field to display their talents than the revolting immorality and obscene triviality forming the story of the libretto La Malediziane. "

There ensued more than a month of delicate negotiations. Verdi agreed to move his setting out of the French court, to change the names of most major characters, to remove the scene with the key (substituting a more subtle seduction for Hugo's rape), and even to change the name of the work to Rigaletta , since the censor felt the whole idea of a curse was blasphemous. On important points , however , Verdi held firm and eventually won out. Francois became the Duke of Mantua, but his character was in no way softened by the transformation . The central character remained an ugly hunchback, despite the censor's protest that he was grotesque and unbelievable. ("A hunchback who sings?" Verdi retorted, "Why not''') And the curse, while dropped from the title, remained the unifying thread through the revised libretto .

The altered libretto was finally approved on January 25 , 1851, and the premiere set for March 11. This has given rise to the supposition that Verdi composed the score in just 40

days; but his letters to the censors ' make it clear that he had already developed a clear idea of what he wanted to accomplish musically.

Verdi was 37 in 1851, and Rigaletta was to be the first in an unprecedented series of opera masterpieces: II Trovatare came next, followed by La Traviata, I Vespri Siciliani , Simane Baccanegra and Un Ballo in Maschera within the next decade. Each represented an additional step in Verdi's restructuring of opera into an art form whose basic unit is no longer the aria , but the scene - a change that was noted with much displeasure by critics and singers alike There was difficulty finding anyone to Sing Maddalena in the original production, because she has no aria There is only one aria in each of Rigoletto's first two actsthe Duke's in Act One and Gilda's in Act Two - and even these were not written in a way guaranteed to stop the show, but in order to further its development. "I imagined Rigoletto almost without arias and without finales," Verdi explained, "just an unbroken string of duets, because this form satisfied me "

It satisfied the opera public, as well, for Rigoletto was an enormous success from the first. Even its first performance was so eagerly awaited that Verdi withheld the melody for "La donna e mobile" until the very last minute for fear it would be pirated all over Venice before opening night. Despite fluctuating fortunes at the hands of various censors, the opera grew in popularity from year to year. Perhaps the last holdout against it was Victor Hugo himself, who felt his drama had been trivialized in adaptation He prevented its production in Paris for more than six years, just as the authors of Le Reveillon embargoed Die Fledermaus some 25 years later. As in the latter case, however, the popularity of the opera won out, and eventually even Hugo was forced to concede its success.

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Copyright 2010, Michigan Opera Theatre

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MOT Education Report

MICHIGAN OPERA'S THEATRE'S Department of Education has played a central role in our overall purpose from the outset, and continues to lead the nation in developing new and innovative ways to make the magic of opera accessible to everyone. Under the direction of Karen DiChiera, the original programs aimed at public school children have been expanded to include other important segments of the population, including the elderly and the handicapped.

Among this year's new projects was Grandparents Day at the Franklin Club Apartments senior citizens'

faCility. A special opera production for children was offered, and residents were encouraged to invite their grandchildren and greatgrandchildren to share the day with them Karen will be discussing the project at the National Gerentological Convention in San Diego this November

Projects for the handicapped have included special outreach workshops and performances. Their attendance at Music Hall performances has been encouraged in a number of ways, including making this program book available on tapes for the blind.

Children continue to be of primary importance in MOT's special projects. A grant from the Michigan Council for the Arts allowed Detroit's Ludington Magnet Middle School to create a special program allowing middle school students to collaborate with composer Karen DiChiera and librettist Joan Hill on a new operetta called Look to the Land. This tenweek project culminated in two public performances; excerpts were later presented at a meeting of the Detroit Board of Education, and Opera News will carry a special article on the project this fall.

JAN ALBRIGHT, a great favorite with Michigan Opera Theatre audiences , returns this season for three performances of Die Fledermaus as Adele -a role for which she is well remembered, hav ing sung it here previously in 1974 . She began with MOT in 1971 as Yvette in La Rondine and most recently appeared as Musette in last season 's La Boheme ; in between , her roles here have included Olga in Merry Widow, Kate Pinkerton in Madame Butterfly, Flora in La Traviata and the title role in Naughty Marietta W ith MOT's Opera-In-Residence company, Miss Albright has appeared throughout Michigan as Lucia di Lammermoor and as Violetta in La Traviata.

A Birmingham resident, Miss Albright teaches voice at Oakland University and has performed as a soloist with the Detroit Symphony.

ELEANOR BERGQUIST, who is Singing Rosalinda in three performances of Die Fledermaus, is one of the most exciting young artists of our day. She has sung leading roles with opera companies throughout the United States, including New York City Opera , San Francisco Opera , and companies in Miami, Louisville, San Antonio and other major cities. At the Lake George (NY) Opera Festival she has been starred for three consecutive summers as Fiordiligi in Cos; fan tutte, the Countess in Marriage of Figaro, Donna Elvira in Don Giovanni and the title role in The Merry Widow

Along with her operatic engagements , Miss Bergquist is much in demand as soloist with orchestra and for oratorio with major choral societies . She has appeared many times at Carnegie Hall and Lincoln Center in performances of Messiah and in works by Bach, Haydn , Mozart, Poulenc, Brahms , Dvorak and Koda 'ly. She has several times been guest soloist with the SI. Louis Symphony and with the orchestras of Pittsburgh, Baltimore , Flint, Kalamazoo and Albuquerque. Detroit audiences have heard Miss Bergquist in concert versions of Cosi fan tutte and Tancredi.

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JACK BITTNER, Candy in Of Mice and Men, comes to the MOT anniversary season from the Goodspeed Opera House, where he was featured in their hit revival of George M. Cohan's Little Johnny Jones His Broadway credits include such hits as Nobody Loves an Albatross , Tiger at the Gates, Witness for the Prosecution, Rashomon and Beggar's Holiday. Nominated for the Clarence Derwent Award for his performance in Margaret Webster's production of Richard III , Mr. Bittner later won an Obie for his work in Ivanov; other off-Broadway appearances include Threepenny Opera, John Houseman 's Coriolanus, Hogan's Goat, What Every Woman Knows , By Bernstein and Shaw's The Philanderer.

GWENDOLYN BRADLEY, singing Gilda in the English-language performances of Rigoletto, made her profeSSional operatic debut with the Lake George Opera Festiva l in 1976, when her roles were Nanetta in Falstaff, Clara in Porgy and Bess and Pousette in Manon Since then she has sung Titania in A Midsummer Night's Dream with the Central City Opera, the title role of Lakme with Opera / South and , in her debut with the Opera Company of Philadelphia, Aurelia in Rumplestiltskin.

Miss Bradley is also active both as a recitalist and as an orchestral soloist Her New York recital debut in June, 1978, was a tremendous success, prompting The New York Times to call her "a real winner a soprano 69

to be on the lookout for in the future." She has been soloist with the Philadelphia Orchestra, Kansas City Philharmonic, Charleston Symphony and Pittsburgh Youth Symphony, among others.

Mr. Busse has appeared with the San Francisco Opera in Billy Budd, Fidelio, Norma and Otel/o. His Miami Opera debut was as Des Grieux in Manon Lescaut; he returns this season as Cavaradossi in their Tosca. He has previously sung Lenny with the Houston Grand Opera, and last season appeared with the Lyric Opera of Kansas City in Vanessa and as Don Jose in Carmen.

Barry Busse Riccardo Calleo

BARRY BUSSE, who is Lennie for two performances of Of Mice and Men, has been described by the prestigious English publication OPERA as having "vocal timbre and intonation reminiscent of the young Jon Vickers ." The occasion for that comment was his portrayal of Bothwell in Thea Musgrave's Mary Queen of Scots with both the San Francisco Spring Opera and Virginia Opera. He was equally as successful with the Santa Fe Opera as Alwa in the first American staging of the complete Lulu.

RICCARDO CALLEO, singing the Duke in the Italian-language Rigoletto, made his debut with Michigan Opera Theatre in the 1979 production of La Boheme in Kalamazoo. A native of Endicott, N Y., and graduate of Yale, the tenor has studied voice at the Conservatorio G. Verdi in Milan, the Curtis Institute of Music and the Music Academy of the West. He made his opera debut while in Stuttgart on a Fulbright grant; he was then engaged as first tenor in Bqnn , during which time he appeared extenSively throughout Germany, France, Switzerland and Belgium.

Recent United States appearances include a Rigoletto with the Cincinnati Opera, Don Jose in Carmen with the New York City Opera in both New York and Los Angeles, and Edgardo in Lucia di Lammermoor for the Washington Opera earlier this year. Mr. Calleo divides his time in Europe among the opera houses of Innsbruck, Linz, Strasbourg and Basel.

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PIERRE CHARBONNEAU makes his Michigan Opera Theatre debut as Leporello in Don Giovanni, but his career has already spanned the North American continent, from Vancouver where he has appeared for five consecutive seasons in such roles as Hunding, Ramfis, Sulpice, Lothario and Don Basilio - to Mexico City, where he made his debut last season with Jorge Velazco conducting Verdi's Requiem

Charbonneau · appears regularly in Calgary , Edmonton and Winnipeg in his native Canada, and has sung in the United States with opera companies in Washington, Miami, New Orleans, Pittsburgh, Providence, Dayton and Toledo. His New York debut was as Peneois in Strauss's Daphne at Avery Fisher Hall, Lincoln Center.

His roles during the 1980-1981 season will include Arkel in Pelleas et Melisande, Timur in Turandot, Ferrando in II Trovatore and Don Magnifico in Rossini's Cinderella.

LAWRENCE COOPER - George in Of Mice and Men - has previously sung the role with the Nevada Opera in Reno ; from Detroit he will travel to Wexford, Ireland, to repeat his portrayal there A native of California, he began his professional career by winning the Grand Finals of the San Francisco Opera Auditions. He has since performed with many opera companies throughout the United States and Canada, including the Canadian Opera Company (Germont in La Traviata , Figaro in Barber of Seville, Marcello in La Boheme), the Western Opera Theatre (Dandini in La Cenerentola , Germont, Belcore in Elisir d'Amore, Figaro), the Hawaii Opera Theatre (Sharpless in Madame Butterfly) and many others. He repeated Dandini in La Cenerentola this summer for the Chautauqua Opera Festival.

Mr. Cooper has also sung with the San Francisco Symphony Orchestra in Mahler's Eighth Symphony and the Bach Magnificat, and with Arthur Fiedler and the San Francisco Symphony Pops. His opera repertOire also includes two roles with which MOT audiences have reason to be familiar: Lionel in Tchaikovsky's Joan of Arc, which he performed with the Nevada Opera , and Morris Townsend in Pasatieri's Washington Square, which he sang with the Augusta Opera

IMOGENE COCA - Prince Orlofsky in Die Fledermaus - was not quite born in a trunk But as the daughter of violinist/conductor Joseph F. Coca and Sadie Brady, who had been magician's assistant to the famous Howard Thurston, she found herself in show business at an early age. She sang, danced, later added comedic pantomime and made a smash Broadway debut in New Faces of 1934.

For five consecutive summers she worked for Max Liebman on the Poco nos resort circuit with the likes of Danny Kaye, Jules Munshin, Jerome Robbins and Carol Channing. When Liebman was given charge of a new television revue, he sent for Miss Coca, suggesting that she try working with the comedian Sid Caesar. The result, of course was Your Show of Shows , for which she was to receive three Emmys (nominated five times) and the coveted Peabody Award

On Broadway, Miss Coca appeared in The Billy Rose Concert Revue, Janus and The Girls in 509. King Donovan was in the cast of the latter show He and Miss Coca met, married and have toured the country numerous times together in such shows as Once Upon a Mattress, The Fourposter, Luv, A Thurber Carnival and Prisoner of Second Avenue Their most recent appearances have been in the Abe Burrows play Four on a Garden, and in Deathtrap.

Imogene Coca was last in Detroit at the Fisher Theatre as Letitia Primrose, the batty evangelist in On the Twentieth Century - the role for which she was nominated for Broadway's Tony Award in 1979 and awarded the Los Angeles Drama Critics Award in 1980. She has appeared frequently with TV partner Sid Caesar in concerts and night clubs; the two were jointly honored recently with a special Emmy Award for outstanding artistry.

JOANNE DANTO, dance soloist at the Fledermaus ball, was raised in Detroit and began her dance studies here under Joey Harris and Osvald Lemanis. After academic and dance classes at the University of Indiana and New York University, she appeared in productions with the New York City Opera Company and the Frankfurt, Germany, Opera Ballet Company .

Her professional debut with an American company was with the National Ballet in Washington, D.C. She toured as a featured soloist with them for two seasons, sharing the

stage with Dame Margot Fonteyn for more than 50 performances during that period. Her subsequent appearances as principal dancer with the Pennsylvania Ballet have won Miss Danto highest praise from all major dance critics, including Clive Barnes, Anna Kisselgoff and Arlene Croce , who described her performance in "Concerto Barocco" as "one of the performing highlights of the dance season ."

DORALENE DAVIS, who is singing two performances as Anna in Don Giovanni, is - along with Jan Albright and Rodney Stenborg -

Q1coc)!?te Riches at rhtnrJ:= ti.ssirro

returning for this tenth anniversary season as a veteran of Michigan Opera Theatre's earliest days. When David DiChiera first assembled area talent under the banner of Overture to Opera to perform excerpts from those works scheduled for the Metropolitan Opera tour, Doralene Davis - then Doralene McNelly of Pleasant Ridge - protrayed Aida and Donna Elvira. amonq others.

Since then the acclaimed soprano has been a soloist in Handel 's Messiah for five consecutive seasons with the Philadelphia Orchestra . In 1979 she sang Haydn's Creation with Eugene Ormandy in Philadelphia, in New York's Carnegie Hall and in the Saratoga Performing Arts Center. She has made many appearances with the Detroit Symphony, Including a staged version of Strauss's Elektra conducted by Antal Dorat!.

MATTEO DE MONTI, singing Sparafucile in both Italian and English language performances of Rigo/etto, made his Michigan Opera Theatre debut in the 1977-78 season as Zuniga in Bizet's Carmen He has performed most extensively In England , where he studied voice with Audrey Langford and Andrew Field.

De Monti ' s opera background includes roles In a number of unusual and distinctive works, such as Walton's The Bear, Rossini's La Gazzetta and the world premiere of La Calisto by Cavalli. He sang Seneca in The Coronation of Poppea at the Woburn Festival in England, and appeared for two seasons as an apprentice artist at the Santa Fe Opera. He has also sung oratorio throughout Europe

NOW IS THE TIME TO PLAN FOR NEXT SEASON ...

1981 METROPOLITAN OPERA WEEK IN DETROIT

- May 25-30, 1981 at Masonic Temple -

A Season Of Contrasts You Won't Want To Miss

1981 SCHEDULE

LA GIOCONDA

Monday, May 25

"THE RISE AND FALL OF THE CITY OF MAHAGONNY

Tuesday, May 26

"MANON LESCAUT

Wednesday, May 27

"QUEEN OF SPADES

Thursday, May 28

TURANDOT

Friday, May 29

"COSI FAN TUTTE

Saturday matinee, May 30

"LA TRAVIATA

Saturday even ing, May 30

'New Production

KING DONOVAN (Frosch in Die Fledermaus) was born into show business, the son of Keith-Albee headliners Donovan & Lee. He was acting professionally in his teens and by age twenty was featured on Broadway in My Sister Eileen, directed by George S. Kaufman. After four years in the Eighth Air Force and several short-lived Broadway runs, his career took him to Hollywood for some 50 films, including Singing in the Rain, Invasion of the Body Snatchers, The Defiant Ones, Cowboy and The Perfect Furlough.

When national television began moving west, Mr. Donovan was active as both actor and director : three seasons with Burns and Allen, four with The Bob Cummings Show, one with Please Don't Eat the Daisies. Simultaneously , he could boast of a five -year period of literally non-stop theatre activity - acting and directing - in the Los Angeles area

Mr. Donovan's Broadway role in The Girls in 509 led to his meeting and marrying Imogene Coca; this production of Die Fledermaus marks their 28th show (and first opera) together.

Name these two classics.

American tenor TONIO DI PAOLO makes his MOT debut this season as the Duke in the English-language performances of Rigoletto. Other highlights of his 1980 schedule have included a Houston Grand Opera debut in Die Fledermaus, Lucia di Lammermoor and Tristan und Isolde for Washington Opera, Gurrelieder for Sergiu Comissiona and the Baltimore Symphony, and a Carnegie Hall debut in Bizet's Te Deum and Mozart's Coronation Mass with the New York City Choral Society conducted by Robert de Cormier

As a member of the American Opera Center of the Juilliard School of Music at Lincoln Center, Di Paolo made his New York debut in the title role of Chabrler's Le Rot Malgre Lui; other roles with AOC included Steva in Jenufa. His many appearances with the San Francisco Opera include the live national telecast of La Gioconda; and his performance in the Manhattan Theatre Club premiere of Conrad Susa's Transformations caused New Yorker critic Andrew Porter to write that "if I were a composer I should want to write music for him to sing ."

Most of you will recognize the classic in front. It's Charley's Bucket, a Down East seafood feast made up of 2 whole live Maine lobsters, Ifz Dungeness Crab, Steamers, Mussels, Corn on the Cob, and Redskins. (It serves two!)

In back? That's a 1917 Overland Roadster. (It seats two.)

Both of these classics have a timeless appeal. But only one of them can be custom-made for you every night of the week.

You can always appreciate a classic!

Copyright 2010, Michigan Opera Theatre

MARC EMBREE, who is singing the title role in Don Giovanni on October 12 and 17, is equally at home in opera, oratorio, recital and musical comedy. His 1978 New York City Opera debut was as Zuniga in Carmen ; he has since sung Colline in La Boheme, Polkan in Le Coq d'Or and Des Grieux in Manon both at the State Theatre in lincoln Center and on company tours to Los Angeles and Washington, D.C.

Mr . Embree has previously sung Don Giovanni with the Lake George Opera Festival and the Virginia Opera Association, and he will perform the same role later this season in Annapolis and Chattanooga. He is a regular with the Opera Theatre of St . Louis , where his roles have included the Music Master in Ariadne auf Naxos, Emmons in Paulus ' The Village Singer, Peutemann in Von Resnicek's opera Spiel oder Ernst and the Speaker in The Magic Flute. This season he will return to St. Louis as the Count in their Marriage of Figaro.

MARK D. FLINT , conductor for both Die Fledermaus and Don Giovanni, comes to his fourth season as Music Director of Michigan Opera Theatre directly from the Pennsylvania Opera Festival in Pittsburgh, where he conducted their production of Carmen. In December he will add to his responsibilities the role of Music Director for Western Opera Theatre, for whom he is to conduct Elixir of Love and Romeo and Juliet , repeating the latter work with the San Francisco Spring Opera

For MOT Flint has conducted The Pearl Fishers, Carmen. La Boheme Showboat and The Student Prince; he both staged and conducted touring productions of Madame Butterfly , La TraViata and Hansel and Gretel. As Principal Conductor of the Lake George Opera Festival, he has led performances of The Merry Widow Don Giovanni , Student Prin ce Madame Butterfly.

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WILHELMENIA FERNANDEZ returns for her second consecutive season with Michigan Opera Theatre as Donna Elvira in Don Giovanni. Her debut here last season was as Musetta in La Boheme - the same role in which she had previously triumphed at the Paris Opera. Having 'first come to international attention as Bess in the Houston Opera Porgy and Bess on Broadway and on tour throughout Europe, the young soprano followed her last appearance here with a revival of La Boheme in Paris and work in Europe on her first feature film.

A graduate of the Academy of Vocal Arts in Philadelphia, her professional opera debut was in 1974 as Antonia in Tales of Hoffmann with the New Dra-Mu Opera, where she subsequently added Violetta in La Traviata and Marguerite in Faust to her repertoire

Other credits include the title role in Aida with the Kansas City Lyric Opera (which will be revived next fall). Later this season she will sing Porgy and Bess with the Charlotte Opera, and she is scheduled to open their 1981-82 season with another La Boheme.

Flint serves as Music Director of the Young Resident Artists at Lake George, and is Director of the Young Artist Intern Program at MOT. This spring he staged and conducted an acclaimed production of La Boheme for the Los Angeles Opera and, in March, not only staged MOT's touring production of Don Pasquale , but also stepped in at the last moment to portray the title role.

CARLISLE FLOYD is one of the foremost composers of opera in the United States today , and is no less distinguished as a director and teacher. His Susannah, among the most successful American operas ever written , premiered at Florida State University in 1955 and was immediately included in the repertoire of New York City Opera It was also selected for the innaugural season of the Metropolitan Opera National Company and was America's opera entry in the Brussels World's Fair. During 1976 alone , Susannah received nineteen separate productions in England , Germany and the United States.

Subsequent to Susannah and Of Mice and Men, which premiered in 1970, Floyd wrote Bilby 's Doll on commission for the Houston Grand Opera , which first presented it in 1976. It was also produced by Omaha Opera later the same year His current opera project is Willie Stark, based on Robert Penn Warren's award-winning novel All the King 's Men ; commissioned by the Kennedy Center, it has been scheduled for performance in 1981.

Floyd holds the prestigious M.D Anderson Professorship in the School of Music University of Houston; he is also co-director of the Houston Opera Studio -a joint project of the university and Houston Grand Opera. He is currently chairman of the newly created OperaMusical Theatre Panel of the National Endowment for the Arts. His published works include four fulllength operas, three one-act operas , and a number of compositions for piano, orchestra and voice.

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ROBERT GUARINO. who is Don Ottavio in this season's performances of Don Giovanni , has previously appeared with the Lake George Opera Festival, the St. Paul Opera , Providence Opera Theatre , Eastern Opera Theatre of New York, and Brooklyn Opera Society , among others. He was highly praised in The New York Times recently for his performance as Nemorino in L'Elisir d 'Amore.

Mr. Guarino has appeared in concert at the Waterloo Music Festival in New Jersey , with the Eastern Connecticut Symphony , the Long Island Choral Society , and with the Boston Symphony at Tanglewood , where he was awarded a fellowship for two summers. His many other awards include first prize in the 1978 Liederkranz Foundation Awards , first prize in the Washington International Competit ion for Singers , and a National Arts Club Award

MOT Pub Crawl

Thursday, October 30

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HOWARD HENSEL (Gabriel von Eisenstein in two Die Fledermaus performances) made his debut with the New York City Opera in 1975 and has made numerous appearances with that company since. This versatile tenor was featured in the East Coast premiere of Thomas Pasatieri's The Seagull (which he has recorded for Primavera Records), and has sung leading roles with the Houston, Baltimore , Miami, Des Moines , Arizona, Washington, and Charlotte opera companies. Mr. Hensel was soloist with the Washington National Symphony in the Beethoven Symphony No.9, as well as singing the tenor part in Bach's B Minor Mass at Kennedy Center Additional orchestra ,l, engagements include the Pittsburgh and Baltimore Symphonies.

Upcoming dates for Mr. Hensel include return engagements with the Pittsburgh Symphony and the Wolf Trap Festival ; he sings Danilo in The Merry Widow with the Miami Opera , a Beethoven Ninth with the Virginia Festival of the Arts , and Don Jose in a Minnesota Opera Carmen.

Copyright 2010, Michigan Opera Theatre

ALEXANDRA HUGHES - Maddalena in Rigoletto - received her Masters in Opera degree from the Juilliard School , where her roles included Hermia in Midsummer Night's Dream and La Natura in Cavalli's La Calisto. A winner of the Connecticut Opera Guild annual competition , she recently sang Marcellina in Le Nozze di Figaro for the New York Opera Ensemble, as well as working with the Bel Canto Opera and The American Opera Center.

This summer Alexandra fulfilled her first apprenticeship with the Santa Fe Opera Company, where she sang Annina in La Traviata.

ROBERT JARED, lighting designer for Of Mice and Men, has just completed lighting designs for the full 1980 repertory of the Pacific Conservatory for the Performing Arts . A graduate of Birmingham Seaholm High School , Albion College and the Yale School of Drama, he was on the MOT lighting staff last season and has worked with such designers as Tharon Musser, Thomas Skelton, Marilyn Rennagel and David F. Segal.

Mr. Jared created lighting for Yale Repertory Theatre premiere productions of The Bundle by Edward Bond , Terra Nova, Guesswork and Identity Crisis. He was principal designer for the entire touring repertory of the Connecticut Ballet Company, and for the 1978 and 1979 Connecticut Dance Festivals.

OPERA HIGHLIGHTS

TUESDAY 7 to 9 P.M.

With Your Singer Hosts

Dino Valle, Baritone & Cathy Grimshaw, Soprano

Good Luck on your 10th Season from

DINO VALLE & CATHY GRIMSHAW

EDWARD KINGINS, singing

Alfred in two performances of Die F/edermaus, is one of several veterans of MOT's earlier production of the same operetta to return for this anniversary season . He has also been featured at MOT in The Merry Widow, Boris Godunov, Regina , Carmen and the tour of Lucia di Lammermoor. He was principal tenor in Des Moines Metro Opera Festival productions of La Rondine and /I Tabarro, and made his Cleveland Opera debut last spring as Edgardo in their Lucia

A former Belle Isle Auditions winner, he has appeared as soloist on numerous occasions with the Detroit Symphony, Detroit Chamber Orchestra , Detroit Concert Band and the Buffalo Philharmonic He has also sung with the Flint Symphony, the Saginaw Symphony, the Kalamazoo Symphony, Scandinavian Symphony and the Niagara Falls Philharmonic

Mary Callaghan Lynch Charles Long

As a choreographer Miss Levine has worked with the Spoleto Festival, the Metropolitan Opera National Company and City Center Opera, among others Her Broadway choreography credits include Pantagleize, War and Peace, The Grass Harp and The Sign in Sidney Brustein's Window. Television credits include NBC Opera , NET Opera, DuPont Show of the Month, Story Theatre, National Theatre of the Deaf and a CBS special entitled The Gershwin Years.

MARY CALLAGHAN LYNCH, who is singing Zerlina in Don Giovanni, has previously worked with MOT in Madame Butterfly , Naughty Marietta, and The Student Prince , among others . Last season she was Musetta in La Boheme with MOT and the Allen Park Symphony , and Gretel in our touring production of Hansel and Gretel.

appearances have included an engagement at the Village Gate in New York City, as well as numerous television and radio commercials.

CHARLES LONG, who sings the title role in Italian language performances of Rigo/etto, will be remembered by MOT audiences as Tonio in our 1979 Pagliacci. He comes to Detroit this season directly from New York City Opera, where he has been appearing as Figaro in Barber of Seville.

A native of Pittsburgh, · Long made his New York City Opera debut as Alfio in Cavalleria Rusticana and has since added Tonio, Escamillo in Carmen, Rance in Fanciulla del West, Marcello in La Boheme, Count Almaviva in Marriage of Figaro and Ford in Fa/staff to his repertoire there, as well as with other major companies throughout the world . He has been acclaimed at the Charleston Spoleto Festival in the title roles of two unusual works, Cimmarosa's II Marito Desperato and Donizetti 's /I Furioso dell Iso/a di Santa Domingo.

RHODA LEVINE, director of Rigoletto, has won acclaim as both director and choreographer in theatres and opera houses on two continents. MOT audiences have enjoyed her d istinctive approach twice before, in productions of Mozart's Magic Flute and the dual bill of Emperor Jones and Pagliacci.

Miss Levine came to international attention with the world premiere production of The Emperor of Atlantis for the Netherlands Opera - a company with which she has frequently been associated, most recently in last season ' s new production of Macbeth She has also directed often for the San Francisco Opera, including Tancredi, Savitri, L 'Amico Fritz and last season's Good Soldier Schweik, which she also choreographed. This summer she created a new production of Salome for Teresa Stratas at the National Opera of Greece in Athens, and her 1980-81 schedule includes a revival of her 1977 Lulu and a new Don Quichotte, both for Netherlands Opera.

Ms. Lynch began her studies with the Interlochen Opera Theatre, where she worked with Boris Goldovsky, and received her BFA from Marygrove College Her professional

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Copyright 2010, Michigan Opera Theatre

The handsome baritone's future schedule includes Lescaut in Manon Lescaut in Seattle, John Proctor in The Crucible with Kentucky Opera, Achilla in New York City Opera's revival of Giulio Cesare and his Opera Company of Philadelphia debut in the title role of Eugene Onegin

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BARBARA MEISTER the vibrant green-eyed redhead returns to Michigan Opera Theatre to play Adele in three performances of Die Fledermaus. She is well -known to audiences in the Detroit area through her performances as Magnolia in MOT's Show Boat and as Maria -a role for which Richard Rodgers selected her personally - in the national company of Sound of Music at the Fisher Theatre She has also appeared in concert at Grosse Pointe War Memorial with her husband David Bender, with whom she has concertized throughout the United States and Europe .

Television audiences have seen Barbara in guest appearances on Today, The Mike Douglas Show, Bell Telephone Hour and special TV productions of The Mikado and West Side Story. She has starred at New Jersey's Paper Mill Playhouse with Jean Pierre Aumont and in Atlanta with Dick Van Dyke Her Los Angeles Civic Light Opera appearances include Candide and a production of Die Fledermaus in which she co-starred with Cyril Ritchard.

This season's Die Fledermaus is the fifth full-length MOT production to the credit of stage director DOMINIC MISSIMI, who has been responsible in past seasons for Naughty Marietta , Carmen , The Pearl Fishers , and a second production of The Pearl Fishers at Matrix: Midland. For MOT Opera-In-Residence he also directed one-act productions of Rumplestiltskin and Rita, and for the Music Hall Center he created stagings of EI Capitan and Bernstein 's Mass

Missimi rece ived his BA from the University of Detroit , later serving on that school's faculty while obtaining a Masters from Wayne State. He has taught and administered in the arts at University of DetrOit , Marygrove College and Long Island University in New York. He returned to the Midwest to direct the premiere of the Leslie Bricusse musical Scrooge and the Chicago Opera Theatre 's ltalian Girl in Algiers.

FolloWing this production of Die Fledermaus , Mr. Missimi has been signed to stage Puccini 's La Rondine in Chicago and Verdi's La Traviata in Augusta.

Copyright 2010, Michigan Opera Theatre

Baritone GEORGE MASSEY, Dr. Faulke In this season's Die Fledermaus, began his professional career as a charter member of the Cincinnati Opera Ensemble He was a regional finalist in the Metropolitan Opera National Auditions and a national finalist In both the WGN Auditions of the Air and the Washington International Competition

A native of Jacksonville, Florida, Mr Massey debuted last season with the San Francisco Opera in Gianni Schicchi and La FanciuJ/a del West. Last season also saw him in Jacksonville for L 'Elisir d'Amore, in Palm Beach forLa Boheme and Cosi fan tutte, and debuting with the Minnesota Orchestra In The Messiah. A frequent soloist with the Cincinnati May Festival , he has also sung with symphonies in San Antonio, Jacksonville and San Francisco.

LEIGH MUNRO, who is singing Gilda in our Italian-language performances of Rigoletto, made an indelible impact on Michigan Opera Theatre patrons in Bizet ' s The Pearl Fishers two seasons ago. She comes to us this season directly from her New York City Opera debut as Kathy in The Student Prince

Fledermaus for Boston Opera and Zerlina in the New York City Opera's Don Giovanni this February

ROBERT MOULSON, who will portray Lennie for three performances, created his role in Of Mice and Men for the world premiere with the Seattle Opera Company He has sung it since in many cities and returned to Seattle for the 1976 revival. He began his formal voice training after high school, when he turned down a football scholarship at Auburn University and registered at the University of Georgia Further study followed at the New England Conservatory . Then on the advice of Jerome Hines he went to New York and within a year became a winner of the Experimental Opera Auditions, sang in New Orleans and made his debut with the New York City Opera Company in Carlisle Floyd's Susannah A year's study in Milan followed before he returned to sing in Central City, Boston , San Francisco, Kansas City, Chautauqua, and on tour for two seasons with Kurt Adler's Golden Curtain Quartet. He has given more than 350 performances of leading tenor roles in Hanover, Frankfurt, Cologne, Stuttgart, Dusseldorf and Bonn. On this side of the Atlantic he has recently performed in Rigoletto in Central City, Don Carlos in Vancouver, CavaJ/eria Rusticana and I Pagliacci in Edmonton and in Susannah in Mobile and Fort Worth.

It was as Gilda that Miss Munro first appeared with Sarah Caldwell's Boston Opera, later adding Susanna in Marriage of Figaro She received standing ovations and world-wide press attention in 1978 as a lastminute replacement for Anna Moffo in Boston Opera's production of Verdi's Stiffelio Since then she has been seen as Magda in La Rondine with the San Francisco Spring Opera , The Bohemian Girl in Central C ity and Lucia di Lammermoor in LOUisville, plus concert appearances in Atlanta, Milwaukee and the Hollywood Bowl.

Following her MOT performances, the soprano 's busy season will include Norina in Don Pasquale in Baltimore, Gretel and Adele in Die

CURT OSJERMANN, lighting designer for Rigoletto, has designed the lighting for productions at the New York Shakespeare Festival, Manhattan Theatre Club, Hudson Guild, Circle Repertory, Missouri Repertory Theatre , Wolftrap and the Hartford Stage Company. He designed 'lighting for the New York premiere of the Richard Owen opera Mary Dyer , and for Manhattan School of Music of Hindemith's News of the Day and Rota's The Italian Straw Hat.

Mr. Ostermann was assistant lighting designer for the Broadway productions of I Ought to be in Pictures, Children of a Lesser God , Clothes for a Summer Hotel, Romantic Comedy, Tribute and Cold Storage. A graduate of the University of Michigan and NYU, he teaches at the Parsons School of Design and was the recipient of the J .S. Seidman Award

LOUIE OTEY makes his Michigan Opera Theatre debut as Slim in Of Mice and Men. A member of Carlisle Floyd's Houston Opera Studio, he appeared last season with Houston Grand Opera as Montano in Otello and as Yamadori and the Imperial Commissioner in Madame Butterfly.

While studying with Ethel Maxwell at Memphis State University, Mr Otey appeared with Opera Memphis as Silvio in I Pagliacci and Angelotti in Tosca, with Southern Opera Theatre as Dandini in Cinderella, Sharpless in Madame Butterfly and Father in Hansel and Gretel, and with the Memphis Oratorio Society as Raphael in Haydn's Creation and Joseph in Berlioz' Childhood of Christ.

ANDREAS POULIMENOS, singing the title role in three performances of Don Giovanni, will be remembered by MOT patrons for two roles last season : Marcello in La Boheme and Lionel in Joan of Arc Michigan audiences have also seen him as Sharpless in Madame Butterfly for MOT , as Don Alfonso in Cosi fan tutte with Michigan State University and as Falstaff for the Opera Association of Western Michigan

Mr . Poulimenos was a winner of the Metropolitan Opera New England Regional Auditions and the recipient of a Fulbright Scholarship to study in Rome. He appeared as soloist with the Boston Pops Orchestra under Arthur Fiedler in the nationally televised Canticle of Christmas, and has sung Messiah at both the Worchester Music Festival and in Boston's Sym82

phony Hall, as well as performing the St. Matthew Passion with the Chorus Pro Musica Mr. Poulimenos is currently on the faculty of Bowling Green State University

MARILYN RENNAGEL, who is designing the lighting for Don Giovanni as well as serving as lighting consultant for the overall season, will be remembered by MOT patrons for her work last season on Joan of Arc and II Trovatore. In Miami she designed lighting for Rigoletto and La Fanciulla del West; and in Dallas she has designed Aida, The Barber of Seville, Manon and La Traviata.

Ms. Rennagel was recently represented on Broadway by the lighting of Clothes for a Summer Hotel and Peter Allen Up in One. She has created lighting for such entertainers as Rod Stewart, Billy Preston, Linda Ronstadt, Diana Ross and Bernadette Peters. She recently designed the Los Angeles Civic Light Opera production of On a Clear Day You Can See Forever, and was lighting consultant for the Barry Manilow World Tour. She has been

lighting designer for the Oldsmobile show for the past two years .

CHARLES ROE, singing Eisenstein in four performances of Die Fledermaus, holds a very special place in the first decade of Michigan Opera Theatre. Through 1977-78, he was the only principal singer to appear in every MOT season at the Music Hall. His roles here have included Captain Dick in Naughty Marietta, Prince Karl Franz in Student Prince, DanilO- in Merry Widow, Figaro in Barber of Seville and Eisenstein in our previous Die Fledermaus.

Mr. Roe has become a favorite at the New York City Opera through such roles as Eisenstein, Papageno in Magic Flute, Silvio in Pagliacci, Franz in Die Tote Stadt and the baritone soloist in Orff's Carmina Burana Last month he opened the New York City Opera season as Dr. Engel in their new production of The Student Prince.

On the concert stage Charles Roe has sung with symphony orchestras in Wichita and Duluth, as well as at Artpark, Meadowbrook and the Caramoor Festival.

BREAKF AST-LUNCH-DINNER

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Copyright 2010, Michigan Opera Theatre

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GEORGE SHIRLEY, appearing four times as Alfred in Die Fledermaus , grew up in Detroit , stud ied at Wayne State University , and has gone on to become one of America ' s most exciting and versatile tenors H is previous Michig1.1n Opera Theatre performance - as Pinkerton in Madame Butterfly at Matr ix : Midland - was acclaimed by crit ics and audiences al ike in the summer of 1978 .

Mr Shirley ' s opera credits include La Boheme in Tokyo and againopposite Monserrat Caballe - for the Connecticut Opera Association ; Shuisky in Boris Godunov in Tulsa ; Loge in Das Rhe ingold at Royal Opera Covent Garden , and major appearances with the Metropolitan Opera , Chicago Lyric Opera , San Francisco Opera , Netherlands Opera , Teatro Colon in Buenos Aires, the Scottish Opera, L'Opera de Monte Carlo and summer festivals at Glyndebourne and Santa Fe .

He has sung Mahler ' s Das Liede von der Erde in Indianapolis , Dublin and Tehran ; the Strauss Electra with Antal Dorati and the Detroit Symphony, and the Verdi Requiem with the Philadelphia Orchestra under Eugene Ormandy both at the Philadelphia Academy of Music and at New York's Carnegie Hall

RODNEY STENBORG , a nativeborn Detro iter who now lives in -Houston , is singing the title role in Rigoletto for the first time in his career in MOT's English - language performances this Fall Technically he is also making his Michigan Opera Theatre debut , although he was very involved in the performances of . Overture to Opera out of which MOT evolved

in The Marriage of Figaro She made her European debut as Flordiligi In Cosi fan tutte at the 1977 and 1978 Spoleto Festivals

[n constant demand for orchestral appearances , Miss Smith has a repertOire ranging from standard works such as the Schubert Mass in G and The Messiah to such contemporary pieces as Les Noces and The Children's Crusade by Pierne. She has sung the Verdi Requiem with Eugene Ormandy and the Mozart Exsultate in Cleveland

Alma Jean Smith

Rodney Stenborg

Last season saw Mr Stenborg with the Houston Grand Opera, performing a widely accla imed lago in Otello as well as Sharpless in Madame Butterfly , Kothner in an English version of Meistersinger and Oscar Hubbard in Blitzstein ' s Regina He also spent part of last season in Memphis as Ez io in Verdi 's Attila , with Met basso Jerome Hines (who will be in concert with MOT this season) in the title role

Rodney Stenborg was engaged for several years with the Staedtischen Buehnen of Osnabrueck and Oberhausen, Germany; he also made many guest appearances throughout Holland Locally, he has sung with both the Pont iac Symphony and the Detroit Symphony Orchestra

ALMA JEAN SMITH, who will sing three Rosalindas in Die Fledermaus this season , won the coveted Metropolitan Opera National Auditions In 1974 Since then, she has been a regular member of the Met company; her roles there have included Papagena in The Magic Flute , Nlade in Ariadne auf Naxos, Tebaldo in Don Carlo and Barbarina

It is fitting indeed that ITALO TAJO, director of Don Giovanni , be part of this MOT anniversary season ; for he was the director of the very first fulllength production presented by Overture to Opera , Rossini's Barber of Seville in 1970 He later returned to the rechristened Michigan Opera Theatre to mount a new production of the same opera in 1975 His directing credits with other major companies include Don Quichotte for Chicago's Lyric Opera and another · Barber of Seville in Seattle. Artist in Residence and Professor of Voice and Opera at the University of Cincinnati College Conservatory of Music , he has also served as Director of Productions at the International Opera Festival in Barga, Italy

It is, however , as one of the foremost basso voices of his time that Italo Tajo achieved his first and greatest · fame . He began to perform at age 11 in his hometown of Pinerolo, Italy , and made his opera debut in Turin in 1935 He has since mastered an astounding 160 roles, performing in virtually every major opera house in the world - including the Metropolitan, Covent Garden , Paris Opera and La Scala

Copyright 2010, Michigan Opera Theatre

CAROLYN VAL·SCHMIDT, who is Donna Anna in three performances of Don Giovanni, debuted with the Metropolitan Opera in the widely-acclaimed production of Benjamin Britten's Death in Venice Last season she pleased both audiences and critics as Donna Anna in Artists Internationale's production of Don Giovanni, which featured Justino Diaz in the title role.

Miss Val-Schmidt has sung leading roles at the Temple University Music Festival, the Lake George Opera Festival and Asolo Opera She was a member of the Mini-Met, and created the role of Betsy Hamilton in the AI Carmines opera The Duel Her professional debut was with the Turnau Opera, where she starred in the roles of Countess in Le Nozze di Figaro and Belissa in Don Perlimplin. Miss Val-Schmidt inaugurated Manhattan's Soho Baroque Opera Company in performances featuring works of Rameau, Gretry, Telemann, Paisiello and Cimarosa.

On the concert stage Miss ValSchmidt has been soloist with the esteemed Clarion Concerts in performances of Messiah, Mozart's Requiem and Poulenc's Gloria. She has appeared with the Newport Music Festival in its 1978 and 1979 seasons, and has been soloist for several seasons with the Joffrey Ballet.

ELIZABETH WAKEFIELD, Curley's Wife in Of Mice and Men, is a native of Michigan who has previously appeared with MOT in The Merry Widow, Die Fledermaus and The Student Prince , in which she sang the leading role of Kathy. She was also one of the pioneers in the Opera-In-Residence program . She has been a scholarship student at Interlochen, the University of Michigan, the Hochschule fur Musik in Munich and Indiana University, where she received her Master of Music degree

Ms. Wakefield has sung with the New York Lyric Opera, the Bronx Opera, the National Opera Company and Western Michigan Opera; her roles have included Musetta in La Boheme, Norina in Don Pas· quale, Martha and others. She has sung in concert for Columbia Artists in New York and throughout the United States; she recently returned from a concert tour of Europe.

RICHARD WINKLER, lighting designer for Die Fledermaus , has designed for the past six seasons of the Dallas Civic Opera. Some of his credits include La Cenerentola, Rigoletto, La Boheme, Salome and Madame Butterfly. For the 0reater Miami Opera Guild he created the lighting design for The Abduction and for the Houston Grand Opera he recreated his Cenerentola

W. ANTHONY WATERS, who is conducting Rigoletto this season , is making his second appearance on the MOT podium; he was the conductor for last season's acclaimed production of II Trovatore.

Mr. Waters has been associated with the Greater Miami Opera, Memphis Opera Theatre, and Opera South, among others. At San Francisco Opera he served as musical assistant to General Director Kurt Herbert Adler. His conducting credits include Abduction from the Seraglio, Don Pasquale, Trouble in Tahiti , Carmen , and Amahl and the Night Visitors.

His Broadway designs include the current Your Arms Too Short to Box With God, and Shirley Bassey Can· cert, Something's Afoot, Best Friend and The Play's the Thing. He has supervised lighting for The Concert starring Frank Sinatra, both of Shirley MacLaine's Palace Theatre engagements, George Benson at the Belasco and Ashford and Simson at the Palace .

BONNIE WHALEN, who designed the costumes for Carlisle Floyd 's Of Mice and Men , is in her fourth season as wardrobe coordinator for Michigan Opera Theatre A graduate of the University of Detroit with a Bachelor of Fine Arts in Design, she has worked with the New York Shakespeare Festival, Santa Fe Opera and two seasons of Michigan's Matrix:Midland Festival.

In the Detroit area, Miss Whalen has worked with the Harbinger Dance Company, Meadowbrook Theatre and Greenfield Village Players.

This banner tenth anniversary season for Michigan Opera Theatre represents a major milestone for Detroit's Music Hall as well, since the fortunes of both institutions have been intertwined throughout the 1970s. It was David DiChiera's music troupethen known as Overture to Operawhich "borrowed" the long-empty theatre from Detroit steel executive Mervyn Gaskin, cleaned and polished it, and launched a production of "Joseph and the Amazing Technicolor Dreamcoat" in November, 1971.

The building was originally The Wilson erected in 1928 for $1,250,000 by Mrs. Alfred G. (Matilda) Wilson, widow of auto pioneer John Dodge. With the immediate onslaught of the Depression, talkies, radio and the booking power of the rival Shuberts, The Wilson's legitimate career was bumpy from the first. But it was the Detroit home for touring productions from Florenz Ziegfeld (Marilyn Miller in Rosalie, Eddie Cantor in Whoopee) and Earl Carroll (W. C. Fields, Jack Benny and Maurice Chevalier in various editions of the Vanities). Its Spanish Renaissance interior also echoed with many popular music performances, including concert appearances by the young Frank Sinatra.

In 1945, its legitimate career on the decline, The Wilson became Music Hall as Henry Reichhold, president of the Detroit Symphony Orchestra, established his musicians in their new home and broadcast a weekly network radio show, The Ford Sunday Evening Hour, from the Music Hall stage.

When the Symphony's internal problems and labor disputes led it to sus-

pend operations - to reappear later at Masonic Temple - Music Hall closed its doors until Gaskin bought it and leased it for a twelve-year period to Cinerama Corporation. Many present patrons first remember Music Hall through childhood visits to "experience" the three-camera Cinerama film process. Music Hall was the nation's most successful Cinerama theatre until the novelty faded and Cinerama ran out of product. Music Hall went dark again, and its sale and eventual demolition became increasingly likely.

Enter DiChiera and Overture to Opera. Their success led to a substantial grant from The Kresge Foundation to purchase and renovate the building and an operating subsidy from Detroit Renaissance, Inc.

For some time DiChiera was director of both Michigan Opera Theatre and the Music Hall itself, where he was instrumental in establishing the building as a center for the performing arts with special emphasis on a major dance series as well as jazz and theatre events. When the two hats became excessive, he elected to concentrate on MOT while retaining membership on the Music Hall Executive Committee.

The task of restoring Music Hall to its former glory is unending. New carpeting and curtains, restored boxes and renovated seats are among the immediate projects for which funds are now being sought.

In the meantime, MOT and Music Hall continue to share their common home, filling it with activity, excitement and people throughout the year. Mrs. Wilson would have been delighted.

Information

BOX OFFICE is open Monday through Saturday from 10:00 a.m. until 6:00 p.m. and two hours before showtime on Sunday. Telephone orders will he accepted as early as 10:00 a.m. through the week. The Box Office will remain open through the first intermission on every performance night. Tickets may be charged on Master Card and BankAmericard (VISA). The Box Office regrets that it cannot accept charge orders after 90 minutes prior to showtime. For ticket information on any Music Hall performance. please call 963-7680.

ADMISSION. Each person admitted to the theatre must have a ticket. As a courtesy to artists and patrons, no one under 3 years of age will be admitted.

MUSIC HALL TICKET OUTLET. Music Hall tickets can be purchased at the Rialto Gift Shop. 217 S. Woodward, Birmingham.

EMERGENCY NUMBER. If emergencies arise making it necessary to contact Music Hall during performance times, call 963-5835 or 964-8989.

PHYSICIAN'S REGISTRY is located in the upper lobby of the Main Floor. Doctors who are on call are requested to write their seat locations in the Registry.

VALET PARKING is available for your convenience with bonded attendants and lighted lots.

THE MUSIC HALL COCKTAIL LOUNGE opens one hour before each performance. Drinks may be reserved for intermissions.

LOST AND FOUND. The Theater is not responsible for lost or stolen articles. Unclaimed articles should be turned in to the House Manager and may be claimed by calling 963-7622 between 9 a.m. and 5:00 p.m., Monday through Friday

WHEELCHAIR PATRONS. Please inform the Music Hall doorman on your arrival at the theater. Then proceed to the west building entrance where you will be escorted into the theater by a special attendant. Also, when ordering tickets, please advise the Box Office that you have a wheelchair so they can issue tickets in the best possible place.

House Staff

J. Roland Wilson

Producing Director/

General Manager

Grant Collins

Assistant Manager

Peg Sullivan

Box Office Manager

Joan Heidt

Group Sales Director

Normand Lemieux

Concessions Manager

SOUTHFIELD, MICHIGAN

CLEVELAND, OHIO

Mark Kielb

Head Usher

Lee Ellis

Maintenance Engineer

FRANCO CORELLI Is unique in the singing world today in confessing that he is entirely self-taught. Born in the town of Ancona on the Adriatic Sea - the region in Italy known as "The Marches" - Mr. Corelli verifies the tradition that beautiful voices are born in this region. In this he follows a distinguished precedent set by such other great singers from the area as Gigli, Tebaldi, Siepi, Del Monaco and Cerquetti.

Mr. Corelli first chose engineering as a career, but at the insistence of friends, entered the vocal competition at Florence's Maggio Musicale and won it - with no previous formal training! Nor has he had any since; his only teacher in voice production has been his collection of records, especially those of Caruso. For years he listened to these recordings, analyzing, imitating and learning - learning so well that the New York Post could later write "he is conceivably the greatest tenor currently occupied in the business of Italian opera."

Core IIi's formal operatic debut in 1952 at Spoleto as Don Jose in Carmen was followed by an equally successful appearance at the Rome Opera House in Zandonai's Giulietta e Romeo. In 1954 he opened the season at Milan's famed La Scala in Spontlni's La Vesta/e, returning to open the 1960 season with Maria Callas in Donizettl's Poliuto. Engagements followed throughout Italy and in Paris, Munich, Berlin, Stuttgart, Salzburg, Vienna and London's Covent Garden, where the 88

great artistry of Corelli's full-throated voice and clarion thrust in the upper register won him legions of admirers.

Franco Corelli first became known to American music lovers in the film version of Tosca with Franca Duval. In January, 1961, his long-awaited Metropolitan Opera debut took place when he sang the role of Manrico to Leontyne Price's Leonora in II Trouatore, a glittering debut for both artists. Commenting on Corelli's voice, critic Harold C. Schonberg wrote in The New York Times, "It has something of an exciting animal drive about it, and when Mr. Core IIi lets loose he can dominate the ensemble."

Since his Metropolitan debut and subsequent performances at that opera house, he has also sung with the Lyric Opera of Chicago and the San Francisco Opera where he has brought artistic finesse, colorful individuality and an intensity of feeling to a variety of roles. As the herald of a new generation of bel canto artists, he not only ranges from dramatic stage roles to exquisite Neapolitan songs and inspirational songs of a religious genre, but he has also starred in revivals of neglected masterpeices such as Meyerbeer's Gli Ugonotti and Handel's Giulio Caesare.

In every sense of the word, Franco

Corelli personifies the romantic Italian tenor and, what's better, he looks the part. It is quite possible to see why a Tosca, a Juliette or a Turandot could fall in love with a Cavaradossi, a Romeo, or a Prince Calaf, if that lover is the imposing and dashing Mr. Corelli. To this must be added critic Alan Rich's appreciative comments, "It's Mr. Corelli, hands down. There is no tenor in modern times, Italian or otherwise, whose voice rings out with greater vibrancy, whose every tone carries with it emotion at white heat. The sounds he makes, seemingly without effort, are dazzlingly bright, urgent and communicative."

Franco Corelli has sung in every major opera house throughout the world, including the Metropolitan, La Scala, Vienna, San Francisco, Chicago, Covent Garden, Paris, Hamburg, Berlin, Rome, Buenos Aires, Munich, Moscow, Florence, Palermo and Verona. He has also sung recitals in Japan, Australia, New Zealand, Russia and the Far East.

Mr. Corelli has also shared many joint recitals with the famed soprano Renata Tebaldi throughout the world. One of the most recorded artists of all time, Corelli has made over 50 albums of complete operas, operatic arias, duets, Neapolitan and religious songs.

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Copyright 2010, Michigan Opera Theatre

Celebrating his thirty-fifth consecutive season at the Metropolitan Opera during the 1980-81 season, JEROME HINES breaks all records for a major artist's continued association with that company . Besides his distinguished career at the Metropolitan, the six-foot-six singer from California has won renown in all the great lyric theatres of the worldthe Bolshoi, La Scala, Teatro Coton in Buenos Aires, the Wagner Festival in Bayreuth, Teatro Massimo in Palermo, and many others.

The repertoire of Mr. Hines encompasses all of the great bass roles such

as Boris Godunou, Attila , King Phillip II in Don Carlo, the title role in Don Quichotte, Mephistopheles in all three operas dealing with the Faust legend (Boito's Mefistofele, Gounod's Faust, and The Damnation of Faust by Berlioz), Wotan in Das Rheingold and Die Walkure , Silva in Ernani, Gurnemanz in Parsifal, Zaccaria in Nabucco and many others .

In 1953 Jerome Hines made operatic history as the first nativeborn American to sing the title role in Boris Godunou at the Met or, indeed, at any major theatre in the world . Thus began an association with this greatest of all bass parts that continues still today. In the 1975-76 season Mr. Hines scored one of his greatest triumphs when he again sang Boris Godunov at the Metropolitan Opera House His 30th season with the company was feted with a gala on-stage ceremony attended by luminaries of the music world as well as Governor Byrne of New Jersey, who had just proclaimed January 6, 1976, Jerome Hines Day for that state . During the 1979-80 season Mr. Hines appeared at the Metropolitan in Le Prophete, Eugene Onegin , Rigoletto, Don Carlo and Parsifal. In the coming season he will appear in Poulenc 's Dialogues des Carmelites and SaintSaens's Samson et Dahlila

Each year, in addition to his performances at the Metropolitan, Mr Hines gives numerous concerts with orchestra and in recital; his solo performances in the United States and Canada number well over 1200.

Jerome Hines 's forays into the Broadway musical have proven to be eminently successful. His interpretations of Emile de Becque in Rodgers and Hammerstein ' s South Pacific have evoked critical praise that recalled the success of Ezio Pinza in the role; and his Don QUixote in Man of La Mancha has earned kudos from both audiences and critics alike.

Born in Hollywood, California (where his father was an associate movie producer), his first foray into music at age 11 was unceremoniously terminated by his being kicked out of the Junior High Glee Club because he " couldn't carry a tune. " Yet by the time he had graduated from UCLA with degrees in chemistry, mathematics and physics , he had already appeared with the San Francisco Opera , the New Orleans Opera, the Los Angeles Civic Light Opera, and the Los AngeJes Philharmonic with Sir John Barbirolli.

Mr. Hines now resides in New Jersey and is married to the Italian soprano, Lucia Evangelista . The couple has four sons

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Artist / Intern Program 1980

MICHIGAN OPERA THEATRE'S

Artist Intern Program, now in its second full year, offers talented young American singers an opportunity to combine an intensive tenweek training program with professional performance experience in MOT's major productions This season eighteen singers from all parts of the country were chosen - after extensive auditions - to come to Detroit for this unique program

From their first day at the Music Hall (or rehearsal facilities at the Leland House) to the final performance of the season, MOT interns are caught up in a hectic schedule of classes , rehearsals and performances Their areas of workshop and study include

movement, acting , stage fighting, role interpretation and vocal coaching - all conducted by a distinguished group of artist - teachers under the general direction of Music Director Mark D Flint.

Interns form the core of the chorus in the four MOT fall productions , and many have t he opportunity to perform featured and comprimario roles; this season, for example, such roles as Frank in Die Fledermaus, Curley in Of Mice and Men , the Commandante in Don Giovanni and Count Monterone in Rigoletto will be performed by MOT interns . Others, who have been assigned principal roles to cover (or understudy), will be required to prepare them thoroughly

and participate in as many rehearsals as possible.

The benefits of the Artist Intern Program are twofold : the training and experience it offers are invaluable to the participants ' individual care ers, and the careful development of promising young talent w i ll create a new generation of exciting performances - not on l y at MOT , but in opera houses throughout the world

We are pleased to introduce this season ' s MOT Artist Interns; and we are sure that if you refer back to this program book at some point in the future , you will be reminded that more than one major care er was developed here this season

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JEFF ALLYN, from Howell, Michigan, received his BA degree in Vocal Performance from Asbury College in Wilmore, Kentucky, and his MM from the University of Michigan, where roles have included Don Curzio in The Marriage of Figaro, Rodolfo in La Boheme, Nero in The Coronation of Poppe a and Alfred in Die Fledermaus. He appeared as Luiz in The Gondoliers at Lansing Community College and Charlie in Brigadoon at the Croswell Opera House.

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GEORGE BUFFORD holds BA and MA degrees in Voice from Eastern Michigan University, where he also taught voice and directed the Opera Workshop. His theatrical experience ranges from Kaspar in Amahl and the Night Visitors to Scratch in The Devil and Daniel Webster and Snoopy in You're a Good Man, Charlie Brown. His latest appearances were with the Comic Opera Guild in the 1980 Gilbert and Sullivan Festival at the Red Barn Theatre in Saugatuck.

HOLLY A_ CAIRNS is a graduate of Pennsylvania's Indiana University currently on a graduate assistantship to Bowling Green University in Ohio, where she has sung in productions of Cendrillon, Noye's Flood and Messiah. Stock and university music theatre credits include HMS Pinafore, Man of La Mancha, Stop the World, Guys and Dolls, The Amourous Flea and No, No, Nanette.

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VERTRELLE D. CAMERON is a native of Bridgeport , Connecticut, and currently a teaching assistant in voice at Eastern Michigan University. At Fisk University , she was a featured soloist with the Jubilee Singers, appearing at Lincoln Center, Symphony Hall in Boston and Chicago's Orchestra Hall. She was a member of the MOT Artist Intern program this summer at the Matrix : Midland Festival and has received a scholarship to study with famed soprano Veronica Tyler at the Peabody Conservatory.

University Liggett School applauds the Michigan Opera Theatre

PETER CLEGG is currently studying voice and opera at the JuilJiard School in New York City . He has been with the Lake George Opera Festival for the past two summers, where his roles have included Ruder in The Student Prince. At the American Opera Theatre, he has sung in Un Ballo in Maschera , Or/eo , Midsummer Night's Dream and Mozart's La Finta Giardiniera

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MICHAEL DOLL, who holds a Masters of Music in Voice from the University of Michigan, has been active profeSSionally in dinner theatre in the Ann Arbor area, where he has appeared in The Telephone , The Fantasticks, Bell, Book and Candle and Side by Side by Sondheim As a MOT Artist Intern in Midland this summer , he performed Gustav Holst's The Wandering Scholar and Tom Johnson's Four Note Opera and was featured in MOT's political revue at the Freedom Festival and Republican Convention

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COLEEN DOWNEY first appeared on the Music Hall stage in the choruses of Leonard Bernstein's Mass and EI Capitan. Her roles at MOT have included Papagena in The Magic Flute and Nanette in Naughty Marietta She was a member of the MOT Artist Intern program last season, and has just returned from the 1980 Opera Festival at Lake George, NY .

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JAMES R. LONGACRE, a native of Philadelphia, received his BM from the Philadephia College of Per· forming Arts in Opera. He was a featured soloist with the All· Philadelphia Boys' Choir and Men's Chorale for performances which included the Bob Hope Special taped in Peking, China , and a command performance for Anwar Sadat in Alexandria, Egypt. He has appeared in supporting roles with the Opera Company of Philadelphia, as well as in dinner theatres and commercials . He will make his debut with Opera Omaha this season as Little Bat in Carlisle Floyd's Susannah , directed by the composer.

CAROL MADALIN is in her second season as a MOT Artist Intern A graduate of the University of Michigan's School of Music, her roles here last season included Inez in II Trovatore with Martina Arroyo and Hansel in our touring production of Hansel and Gretel This summer at Midland she was featured in Menotti's The Old Maid and the Thief. Carol has received the Henry E. Wenger Award in the Detroit Grand Opera Association auditions .

ROBERT MINCE is a native of Long Island with a BA from Stonybrook and a Masters in Voice from Florida State University As a MOT Artist Intern this summer , he sang Bob in The Old Maid and the Thief and Dave in A Hand of Bridge. His stage appearances in New York and Florida have included Falke in Die Fledermaus, Marcello in La Boheme , The Count in Marriage of Figaro, Bobby in Company , Lazar Wolf in Fiddler on the Roof and the Judge in Trial by Jury.

ANNE NISPEL, a lyric soprano from Shippensburg, Pa., began her MOT apprenticeship at Midland th is summer, where her roles included Alison in The Wandering Scholar and Miss Pinkerton in The Old Maid and the Thief. She received her BM from Wittenberg University in Springfield, Ohio , and is now studying at the University of Michigan in Ann Arbor

DAVID PARKS is a graduate of Westminster Choir college in Princeton, NJ, and a candidate for his Masters in Voice from the University of Michigan. This summer he appeared as Alfred in Die Fledermaus with the Interlochen Opera Theatre; this spring he sang Frederic in Pirates of Penzance with Ann Arbor's Gilbert and Sullivan SOciety and Lucano in Coronation of Poppea with the University of Michigan Opera . He was a member of the chorus for the Spoleto Festival in Italy for four years.

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MARGARET REES, who first appeared with MOT at the ripe age of 16, is currently studying voice at Wayne State University. where she has won the Music Department scholarship for two years She has also studied lieder and opera at the Music Academy of the West and acting with New York's Circle in the Square. Soloist and choir member at Detroit's Old Mariner Church , she has recently performed Britten's Ceremony of Carols and Mozart's Coronation Mass at Wayne .

PAUL SCHMIDT currently lives in Pittsburgh, and has sung with the Pittsburgh Opera, Pittsburgh Chamber Opera and the Pennsylvania Opera Festival, among others. As an apprentice at the Lake George Opera Festival this summer, he portrayed Von Mark in The Student Prince and also achieved second place in the David Lloyd Awards competition Schmidt holds degrees in music and opera from William Jewell College in Liberty, Missouri, and Memphis State University.

KEVIN SKILES is a graduate of the University of the Pacific in Stockton, California. He has sung Fernando in Cosi fan tutte and Nanki-poo in The Mikado with the Pacific Opera Theatre, as well as Tony in West Side Story and Lieutenant Cable in South Pacific with the Delta Summer Theatre. He spent this past summer at Artpark in Lewiston, NY, where he sang the role of Elder Hayes in Carlisle Floyd's Susannah.

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ROSS STUTZMANN was born in Detroit and graduated from Eastern Michigan University with a major in acting and minor in voice. his roles have included the lead in The Devil and Daniel Webster by Douglas Moore; he has participated in two summer opera workshops in Los Angeles and is currently studying voice at the University of Michigan

kOlDO

DAVID STORK has appeared in a number of productions at Bowling Green State University, including such roles as Simone in Gianni Schicci, the King in Cinderella, Sarostro in The Magic Flute and Superintendent Budd in Albert Herring Equally experienced at stage management, he was Opera Tech Director at Bay View Music Festival this summer.

MICHAEL VAN ENGEN, an Iowa native and graduate of Morningside College there, has just completed his studies at the College Conservatory of Music in Cincinnati. During his course of study there, he received the Norman Treigle Memorial Scholarship, awarded nationally through the New York City Opera . He has apprenticed for two seasons with the Santa Fe Opera, and has appeared with the Cincinnati Opera and the Center Civic Opera in Covington, Kentucky .

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Behind The Scenes

Backstage at the opera and in the purchasing and distribution center of a supermarket chain there are hard working people we never see and possi b Iy do not real ize are there. They are people who are as expert in their jobs and as important to success as the visible members of the company. Without them the curtain would never go up and the shelves in your store would remain empty.

When you thrill to the performance on stage or marvel at the endless variety of products in your supermarket , give these unseen workers a share of your applause.

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Copyright 2010, Michigan Opera Theatre

CONTRIBUTORS

(continued from page 31)

Randi Besbris

Dr H L. Bienenfeld

Dr. and Mrs. Eric Billes

Mr. and Mrs. Norman Bird

The Birmingham Musicale

Rev. Hal Blay

Alice M. Bone

Mr . and Mrs . Thomas Bonner

Albert Bonucchi

Mary L. Borgerson

Robert S. Boris

Mr. Richard F. Borsos

Mr and Mrs. William A. Bostick

Ruth E. Bozian

Robert A. Braun, M . D.

Mr. and Mrs. Gerald Bright

Mr. and Mrs E David Brockman

Dominick R . Carnovale

Dr. Albert E. Chabot

Allan Christie

Mr. and Mrs H.S Christner

Judge and Mrs. Gus Cifelli

Mr. and Mrs Stanley J Clamage

Mr. and Mrs. Frederick K. Cody

John H. Coleman

Mr. and Mrs. Frank Colker

Kenneth Collinson

Mr. and Mrs. Wm P. Conlin

Mr and Mrs. Bernard L. Conn

Mr. and Mrs Edmond B Cooper

Mrs . Margret Coss

Mr and Mrs Robert Courter

Anne D. Curtis

Miss Phyllis S Day

Mr. Loren A. Deer

Jon M. DeHorn

Peggy deSalle

Mary A. De Tomaso

R . C . Dickenman , M . D.

Constance P K. Dickinson

Norrene M. Dreffs

Lawrence M. DuCharme

Dr. and Mrs. Charles H. Duncan

Dorothy Duris

Mr . and Mrs. Peter Dusina, Jr.

Alexander E Dziewit

Patricia Eames

Mr. a.nd Mrs . David K. Easlick

Dr George T Eldis

Maya Elmer

Mrs. Richard C. Ensign

Wayne C Everly

Drusilla Farwell Foundation

Mr. and Mrs Louis F Felder

Mrs Jerome J. Fellrath

Mrs Harold B Fenech

David Ferger

Judith Fietz

Mr. and Mrs Peter R. Fink

Dr and Mrs. Lionel Finkelstein

Mr. and Mrs. Theodore A. Firaneck

Paul P. Fischer

Mr . and Mrs . Vernon F. Fishtahler

Mrs . D .W. Flom

Mrs. William Flournoy

Mr. and Mrs Gordon T. Ford

Dr. and Mrs William R. Fulgenzi

Mr. and Mrs. George W . Funk

Mr. and Mrs. Maxwell T. Gail

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The new Chapel of Memories represents the fulfillment of over a half century of planning and building at White Chapel. It features stained glass chancel windows which take their theme from the 148th Psalm With space for over 300 crypts, the chapel is used for monthly memorial services, and is available for interment services as well. For information or aSSistance, please call 564-5475.

White Chapel MEMORIAL CEMETERY

Copyright 2010, Michigan Opera Theatre

CONTRIBUTORS (cont'd)

Mr. and Mrs. Ralph Garcia

Mr. and Mrs. Keith Gardels

John G. Garlinghouse

Dennis Gauvin

Hans Gehrke, Jr.

M.E Vicki George

B . P. Georgeson

Mr. and Mrs . Richard Gerst

Mr. and Mrs. Robert Gibson , Jr.

Honorable and Mrs. William J Giovan

Dr. and Mrs . Joel Goldberg

Dr. and Mrs. Herbert Goldstein

Mr . and Mrs. MerriJJ Gordon

Mr. and Mrs. George Gravila

Dr. and Mrs . Ervin Green .

Laura Lee Greer

Judge and Mrs. Roman S. Gribbs

Mr and Mrs Grovenor N Grimes

Mr Paul Groffsky

Dorothy Grosko

Mr. and Mrs. Joseph Gualtieri

Dr. and Mrs. Walter Guevara

Dr. and Mrs Quentin Hamilton

Mr. and Mrs Mort Harris

Mr. and Mrs Carleton Healy

Mr Marvin J Heinitz

James Hugh Henry

Judith Hepfer

Ralph Hess

Christie Hewlett

Dr. J. G. and Margaret Higuera

Ruth K. Hill

Louise Hodgson

Mr. and Mrs. James L. Howlett

Mrs . Hobart Durfee Hoyt

James L.A.R Hudler

Mr. and Mrs Richard F. Huegli

Mr. John Humphries

Dr. and Mrs. M Colton Hutchins

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CONTRIBUTORS (cont'd)

Mrs . Frank P. Iacobell

Honorable and Mrs. Joseph N.

Impastato

Mr. and Mrs. Hugh W. Johnston

Dr. and Mrs. Marvin Josaitis

Peter J. Kauffman

Robert Kay

Mr. Edward A. Kazak

Nancy Keenan

Mr. and Mrs. Howard Kehrl

Arthur M and Mary Lee Keillor

Donald Keirn

Dr. Annetta R. Kelly

Laura Lee Kelly

Professor and Mrs . Stanley Kirschner

Dr. and Mrs. S.D. Kobernick

Mrs. C.H. Koebbe

Selma Korn

Kenneth C Kreger

Dr. and Mrs. Alfred M. Kreindler

Mr. and Mrs. Arthur J . Krolikowski

Dr. and Mrs . Lawrence Krugel

Ludmila F. Kruse

David J Langum

Mr. and Mrs. Geoffrey Lanning

Mr. and Mrs. Clifford J. Lavers

Mr. and Mrs. Robert E. Lazzerin, Jr.

Dr. Leonard H. and Ms. Lorraine Lerner

Gerald Levin

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Dr. and Mrs. M J Lipnik

Carol and Ray Litt

Elizabeth A. Long

Dr. and Mrs Leon Lucas

Dr. and Mrs Robert T. Lyons

Mr. and Mrs Richard T MacCracken

Robert B MacKay

Phoebe and Harris Mainster

Mrs. Jessie B. Mann

Harry T. McAllister

Mr. and Mrs. Robert J . McCabe

Donna J. McCann

Mr. and Mrs. Denver P. McCord

Mary M and Frank J. McGinnis

Dr. and Mrs. John D McGinty

Wm. W. and Dolores R .. McKee

Glascoe McKinney, II

Mr. and Mrs. Angus J McMillan

Mary Louise Meade

Julius S. Megyesi

The Reverend and Mrs . F.R. Meyers

Dr. and Mrs. GeraJd Michael

Dr. Herbert and Susan Miller

Mr. and Mrs Philip M. Mistretta

Mr. and Mrs. David A. Mittler

Mr. Paul J. Mlot

Mr. Ronaid K. Morrison

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Mr. and Mrs Bernard E. Mueller

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Mr. and Mrs T. Ohta

Dr. and Mrs. Joseph Orent

Barbara Osborn

Dr. and Mrs. F . D . Ostrander

Mr . and Mrs. M.F . Outwater

Mr. and Mrs. Joseph R Papp

Mr. and Mrs. Charles A. Parcells , Jr.

Beatrice Parsons

Nicholas and Leslie Parsons

Mr. and Mrs James L. Pensyl

Mrs. H.G. Perkins

Claus Petermann , M.D.

Mr. and Mrs Thomas J, Peterson

Dr. and Mrs. Thomas J. Petz

Mr. and Mrs . Marvin L. Phillips

Irene Piccone

Dennis J Pickl

Mr. and Mrs Kenneth A. Pick I

Mr. and Mrs . Michael Popenas

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Timothy F. Richards

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Mrs. James T . Roberts

Peter Robertson

Mr. and Mrs . Jack Robinson

Charles Francis Roden

William J. Roosen

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Sheldon Roth

Diane and Irving Rubin

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CONTRIBUTORS (cont'd)

Reverend Hector J. Saulino

Mr. and Mrs . Ernest W . Scanes

Mr. and Mrs. Jarvis J. Schmidt

Frank E. Schober

Herman Schornstein , M.D .

William and Marie Schuetze

Mr. and Mrs. Julius L. Schulman

Douglas Scott

Dr. and Mrs Norman A. Segal

Dr. and Mrs. Nathan P. Segel

Allen J . Serra

J. Philip Sherwood

Miss Frances Singer

Mrs Gerard R. Slattery

Lee William Siazinski

Robert F. Sly, M. D .

Mr. and Mrs Norman Smith

W.B. Smolek

Mr and Mrs. Irving Sniderman

Barbara Ann Sauve

Mrs. Charles B Spittal

Mr and Mrs Edward R. Stanko

Dr. Marvin Starman

Miss Esther Stepaniak

Dr. Sheldon and Jessie Stern

Brad and Bobbi Stevens

Daniel J. Stevens

Mr. Lawrence Stocker

A.K. Stoipman, M.D.

Mr. and Mrs . D . E. Strom back

Mr and Mrs Alexander C. Suczek

Dr. and Mrs Seymore B. Swartz

Dr. and Mrs. Harry H Szmant

Salvatore and Martha Tabacco

Barbara T ait

Mr. and Mrs , C. Brandt Tefft

Milo J. Thomas

Mrs. Nona E. Thompson

Barbara B. Trudgen

Mr. and Mrs. Elliott Trumbull

Mr. and Mrs Allan H. Tushman

Margaret E. Tuttle

Virginia J , Tyler

Mr, and Mrs E.H. Valentine

Mrs Luane Valentine

Dr. and Mrs . Leonard L. Veatch

Mr. and Mrs. W.H . Vedder

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JOHANN STRAUSS

libretto

Haffner & Genee

translation

Ted Puffer conductor Mark D Flint director and choreographer

Dominic Missimi sets

Robert O'Hearn for the Greater Miami Opera Association

costumes

Malabar, Ltd Toronto

lighting Richard Winkler

Operetta in Three Acts

September 12 , 13, 14 , 17, 19, 20, 1980

In English

Copyright 2010, Michigan Opera Theatre

THE CAST

Gabriel von Eisenstein Charles Roe - Sept 12, 14, 17, 20

Howard Hensel - Sept 13, 19

Rosalinda, his wife. Eleanor BergqUist - Sept 12, 14, 19

Alma Jean Smith - Sept 13, 17 , 20

Adele , their maid. Barbara Meister - Sept 12, 14, 19

Jan Albright - Sept 13, 17 , 20

Alfred a singer George Shirley - Sept 12,13.19,20

Edward Kinglns - Sept 14, 17

Dr. Falke. . George Massey

Dr. Blind , a lawyer David Parks' - Sept 12, 14, 17. 20

George Bufford' - Sept 13, 19

Frank , the prison warden Michael Van Engen'

Sally Adele 's sister Coleen Downey'

Prince Orlofsky , a rich Russian Imogene Coca

Frosch. the jailer King Donovan

Prima Ballerina Joanne Danto

and guests of Prince Orlofsky

'Member, MOT Artist Intern Program

THE SCENE

Vienna, Austria, in the late nineteenth century

ACT ONE

The house of Gabriel von Eisenstein intermisSion

ACT TWO

Prince Orlofsky's grand ballroom intermission

ACT THREE

The warden's office in the city prison

MOT

Artist Interns

Jeff Allyn

George Bufford

Holly Cairns

Vertrelle Cameron

Peter Clegg

Michael Doll

Coleen Downey

James Longacre

Carol Madalin

Robert Mince

Anne Nispel

David Parks

Maggie Rees

Paul Schmidt

Kevin Skiles

David Stork

Ross Stutzman

Michael van Engen

MOT

Auxiliary Chorus

Patricia J. Balysh

Cheryl C. Barnes

Larry N. Bate

Miriam Bate

Fred Buchalter

Ed R. Cartwright

Marie Fiorillo

Elizabeth A. Mar-Aston

Kimberly L. Phillips

Mary Anne Pilette

Ann Marie Reeves

Diane Rowlands

Leslye Sklar

Patricia Beach Smith

A. Michael Sochacki Jr.

Anna Speck

Robert Winston Sullivan

Hezekiah Williams

MOT Supers

Melanie AI-Shabkhoun

Walter AI-Shabkhoun

Dale Austin

Stanley Beattie

David Blenkle

Richard Brownes

Meghan Heffernan

Edward J. Kroll

Jerry Orlowski

Terry Prim

George Schmidt

DIE FLEDERMAUS

WHO'S WHO

The title character in Die Fledermaus is DR. FALKE , although his is far from the largest role Some lime before our story begins, Dr. Falke and his friend GABRIEL VON EISENSTEIN went together to a masquerade party, at which Falke got very drunk His friend Eisenstein, as a practical joke , left him in the street to sleep it off , which meant that the good doctor was forced to walk home in broad daylight dressed as a bat (die jledermaus) and feeling very foolish. He has been plott ing his revenge ever since

In addition to Eisenste in , the principal characters are Eisenstein's wife ROSALINDA ; their maid ADELE; ALFRED, a tenor In love with Rosalinda; FRANK, a prison governor ; FROSCH, the jailer; and PRINCE ORLOFSKY, who hosts the grand ball in Act Two.

THE STORY

ACT ONE: The von Eisenstein home. The first voice heard Is that of Alfred, who is sing.ing a serenade to Rosalinda Adele, the maid, rushes in with a letter from her sister offering to sneak her Into a ball that night at the home of Prince Orlofsky ; her problem is how to get the evening off work . Rosalinda , her mistress, turns a deaf ear to Ade le's pleas about a sick aunt. Since her husband Gabriel· Is leaving to serve a brief prison sentence (never mind why), Rosalinda wants Adele on duty to serve his farewell supper. Rosalinda is further distracted when Alfred tells her that he will return that evening to woo her in her husband's absence (Even though she is contentedly married, Rosalinda has a weakness for tenors )

Eisenstein makes his entrance railing at the incompetence of his attorney, whose bungling has succeeded In increasing Eisenstein's sentence. Dr. Falke arrives with an invitation to Prince Orlofsky's ball, and he urges the funloving Eisenstein to join him. He can attend In disguise , Falke suggests slyly, report to prison after the ball, and Rosalinda need know nothing about it. Eisenstein declares this an excellent Idea and leaves for prison in full evening dress! Rosalinda, meanwhile, suddenly gives Adele the night off so the house will be empty for tenor Alfred's return.

No sooner have Gabriel and Adele gone their separate ways than Alfred returns and sits down to eat Eisenstein's neglected supper Frank , the new prison governor , arrives to escort his prisoner to jail and assumes that Alfred is Eisenstein. The mistaken identity cannot be corrected without compromising Rosalinda's reputation, so poor Alfred goes off to jail as the curtain falls

ACT TWO: The ball at Prince Orlofsky 's Is an enormous success , although the host himself is as bored with the proceedings as he is with life in general. The disguised Eisenstein makes his entrance and is stunned to recogn ize his maid among the guests! But Adele brazenly Insists he is mistaken and enlists the rest of the party in her behalf. Eisenstein does not , however , recognize his own wife , who is masked and pretending to be a Hungarian Countess. He is completely enamoured of the unknown Hungarian , who flirtatiously walks off with his special chiming watch. Eisenstein also encounters Frank - in disguise, of coursebut neither knows who the other is. The party continues riotously until six a.m.

ACT THREE: The prison. Frank and his jailer are both drunk , and Alfred is amusing h imself by singing in his cell. One by one, the principal characters show up for various reasons and succeed in furthering the confusion as to who is who. Eisenstein, arriving to begin his jail term, disguises himself as a lawyer to find ollt why his wife is there seeking the release of Alfred , still pretending to be Eisenstein! Rosalinda, in return , defies her outraged husband to explain his missing watch.

Finally Dr. Falke enters to explain his role in creating most of the confusion as revenge for the episode of the bat costume Alfred and Rosalinda, seeing an easy way out , are quick to blame their own indiscretions on the same plot, which leads everyone to sing In praise of the wonderful powers of champagne!

THE COMPANY

JAN ALBRIGHT, a great favorite with Michigan Opera Theatre audiences, returns this season for three performances of Die Fledermaus as Adele - a role for which she Is wel i remembered, having sung it ' here previously in 1974. She began with MOT in 1971 as Yvette in La Rondine and most recently appeared as Musette in last season 's La Boheme; in between, her roles here have Included Olga in Merry Widow, Kate Pinkerton in Madame Butterfly , Flora in La Traviata and the title role in Naughty Marietta. With MOT's Opera - In-Residence company, Miss Albright has appeared throughout Michigan as Lucia dl Lammermoor and as Violetta in La Traviata.

A Birmingham reSident, Miss Albright teaches voice at Oakland University and has performed as a soloist with the Detroit Symphony.

ELEANOR BERGQUIST, who is singing Rosalinda in three performances of Die Fledermaus , is one of the most exciting young artists of our day. She has sung leading roles with opera companies throughout the United States, Including New York City Opera, San Francisco Opera, and companies In Miami, Louisville, San Antonio and other major cities. At the Lake George (NY) Opera Festival she has been starred for three consecut ive summers as Flordillgl In Cosi fan tuNe, the Countess In Marriage of Figaro , Donna Elvira In Don Giovanni and the title role in The Merry Widow

Along with her operatic engagements, Miss Bergquist is much in demand as soloist with orchestra and for oratorio with major choral societies. She has appeared many times at Carnegie Hall and Lincoln Center In performances of Messiah and in works by Bach , Haydn, Mozart, Poulenc, Brahms, Dvorak and Kodaly. She has several times been guest soloist with the SI. Louis Symphony and with the orchestras of Pittsburgh , Baltimore , Fli nt, Kalamazoo and Albuquerque. Detroit audiences have heard Miss Bergquist in concert versions of Cosi fan tutte and TancredI.

IMOGENE COCA - Prince Orlofsky in Die Fledermaus - was not quite born in a trunk. But as the daughter of violinist/conductor Joseph F. Coca and Sadie Brady, who had been magician's assistant to the famous Howard Thurston , she found herself In show business at an early age. She sang , danced , later added comedic pantomime and made a smash Broadway debut in New Faces of 1934

For five consecutive summers she worked for Max Liebman on the Poconos resort circuit with the likes of Danny Kaye, Jules Munshln, Jerome Robbins and Carol Channing. When Liebman was given charge of a new television

revue, he sent for Miss Coca, suggesting that she try working with the comedian Sid Caesar. The result , of course , was Your Show of Shows, for which she was to receive three Emmys (nom inated five times) and the coveted Peabody Award

On Broadway , Miss Coca appeared in The Billy Rose Concert Revue , Janus and The Girls in 509 King Donovan was In the cast of the latter show. He and Miss Coca met , married and have toured the country numerous times together in such shows as Once Upon a Mattress , The Fourposter, Luv , A Thurber Carnival and Prisoner of Se cond Avenue. Their most recent appearances have been in the Abe Burrows play Four on a Garden, and in Deathtrap

Imogene Coca was last in Detroit at the Fisher Theatre as Letitia Primrose, the batty evangelist in On the Twentieth Century - the role for which she was nominated for Broadway 's Tony Award in 1979 and awarded the Los Angeles Drama Critics Award in 1980. She has appeared frequently with TV partner Sid Caesar in concerts and night clubs; the two were Jointly honored recently with a special Emmy Award for outstanding artistry

JOANNE DANTO, dance soloist at the Fledermaus ball , was raised In Detroit and began her dance stud ies here under Joey Harris and Osvald Lemanis. After academic and dance classes at the University of Indiana and New York University, she appeared In productions with the New York City Opera Company and the Frankfurt, Germany , Opera Ballet Company.

Her professional debut with an American company was with the National Ballet in Washington, D C She toured as a featured soloist with them for two seasons , sharing the stage with Dame Margot Fonteyn for more than 50 performances during that period. Her subsequent appearances as principal dancer work with the Pennsylvania Ballet have won Miss Danto highest praise from all major dance critics, including Clive Barnes, Anna Klsselgoff and Arlene Croce, who described her performance in "Concerto Barocco" as " one of the performing highlights of the dance season ."

Miss Danto has become especially noted as an Interpreter of the works of George Balanchine, including "Serenade," "Symphony in C, " "Raymonda " and " Four Temperments." David Vaghan, in Dance Magazine, has called her "one of the best Balanchine dancers anywhere - which is to say, one of the best dancers."

KING DONOVAN (Frosch In Die Fledermaus) was born Into show business , the son of Keith-Albee headliners Donovan & Lee. He was acting professionally In his teens and by age twenty was featured on Broadway in My

Sister Eileen , directed by George S. Kaufman

After four years in the Eighth Air Force and several short-lived Broadway runs , his career took him to Hollywood for some 50 films, including Singing in the Rain, Invasion of the Body Snatchers, The Defiant Ones, Cowboy and The Perfect Furlough

When national television began moving west , Mr. Donovan was active as both actor and director: three seasons with Burns and Allen , four with The Bob Cummings Show, one with Please Don't Eat the Daisies Simultaneously , he could boast of a five-year period of literally non-stop theatre activity - acting and directing - in the Los Angeles area

Mr . Donovan's Broadway role in The Girls in 509 led to his meeting and marry ing Imogene Coca; this production of Die Fledermaus marks their 28th show (and first opera) together.

SENATOR JACK FAXON (D-Detroit) has long combined his political career with artistic and perform ing achievements. MOT audiences have enjoyed him in previous seasons as Prince Orlofsky in Die Fledermaus and as Lt . Governor Grandet in Naughty Marietta He narrated Peter and the Wolf with the Detroit Symphony Orchestra and has appeared with the Lansing Symphony and other symphony orchestras throughout the state An accomplished artist, he has had exhibitions at the Cranbrook Academy , Wayne State Univers ity and at the State Capitol ; his most recent exhibit was at Detroit 's Scarab Club.

In recent years, Senator Faxon has been widely recognized for his many contribul ions to the arts in Michigan, including awards from the City of Detroit, Cranbrook Arts Academy , Scarab Club and the Michigan State Senate. He was recently appointed to the National Task Force for the Arts

HOWARD HENSEL (Gabriel von Eisenste in In two Die Fledermaus performances) made his debut with the New York City Opera in 1975 and has made numerous appearances with that company since This versatile tenor. was featured in the East Coast premiere of Thomas Pasatieri's The Seagull (which he has recorded for Primavera Records), and has s ung leading roles with the Houston, Baltimore, Miam i, Des Moines, Arizona, Washington , Charlotte, and Michigan Opera companies Mr. Hensel was soloist with the Washington National Symphony in the Beethoven Symphony No.9, as well as singing the tenor part in Bach's B Minor Mass at Kennedy Center. Additional orchestral engagements include the Pittsburgh and Baltimore Symphonies

Upcoming dates for Mr. Hensel include return engagements with the Pittsburgh Symphony and the Wolf Trap Festival; he sings Danilo in

The Merry Widow with the Miami Opera , a Beethoven Ninth with the Virginia Festival of the Arts , and Don Jose in a Minnesota Opera Carmen

EDWARD KINGINS, singing Alfred in two performances of Die Fledermaus, Is one of several veterans of MOT's earlier production of the same operetta to return for this anniversary season He has also been featured at MOT in The Merry Widow, Boris Godunov , Regina , Carmen and the tour of Lucia di Lammermoor He was principal tenor in Des Moines Metro Opera Festiva'i productions of La Rondine and II Tabarro, and made his Cleveland Opera debut last spring as Edgardo in their LUCia.

A former Belle Isle Auditions winner, he has appeared as soloist on numerous· occasions with the Detroit Symphony, Detroit Chamber Orchestra, Detroit Concert Band and the Buffalo Philharmonic He has also sung with the Flint Symphony, the Saginaw Symphony, the Kalamazoo Symphony, Scandinavian Symphony and the Niagara Falls Philharmonic

Baritone GEORGE MASSEY, Dr. Faulke In this season 's Die Fledermaus, began his professional career as a charter member of the Cincinnati Opera Ensemble He was a regional finalist In the Metropolitan Opera National Auditions and a national finalist In both the WGN Auditions of the Air and the Washington International Competition

A native of Jacksonville , Florida , Mr Massey debuted last season with the San Francisco Opea in Gianni S chlcchi and La Fanclulla del West Last season also saw him in Jacksonville for L 'Elisir d 'Amore, In Palm Beach for La Boheme and Cosi fan tuite, and debuting with the Minnesota Orchestra in The Messiah. A frequent soloist with the Cincinnati May Festival, he has also sung with symphonies in San Antonio , Jacksonville and San Francisco .

BARBARA MEISTER - the vibrant greeneyed redhead - returns to Michigan Opera Theatre to play Adele In three performances of Die Fledermaus She is well -known to audiences In the Detroit area through her ' performances as Magnolia in MOT's Show Boat and as Marla -a role for which Richard Rodgers selected her personally - In the national company of Sound of MusiC at the Fisher Theatre. She has also appeared in concert at Grosse Pointe War Memorial with her husband David Bender, with whom she has concertized throughout the United States and Europe.

Television audiences have seen Barbara in guest appearances on Today, The Mike Douglas Show, Bell Telephone Hour and special TV productions of The Mikado and West Side Story. She has starred at New

Jersey 's Paper Mil l Playhouse with Jean Pierre Aumont and in Atlanta with Dick Van Dyke Her Los Angeles Civic Light Opera appearances Include Candide aSld a production of Die Fledermatls In which she co-starred with Cyril Ritchard

CHARLES ROE. singing Eisenstein In four performances of Die Fledermaus, holds a very special place in the first decade of Michigan Opera Theatre Through 1977-78. he was the only principal singer to appear In every MOT season at the Music Hall His roles here have Included Captain Dick In Naughty Marietta, Prince Karl Franz in Student Prince , Danilo In Merry Widow, Figaro In Barber of Seuille and Eisenstein In our previous Die Fledermaus

Mr . Roe has become a favorite at the New York City Opera through such roles as Eisenstein , Papageno In Magic Flute, Silvio In Pagllacci, Franz in Die Tote Stadt and the baritone soloist In Orff's Carmlna Burana Last month he opened the New York City Opera season as Dr. Engel in their new production of The Student Prince.

On the concert stage Charles Roe has sung with symphony orchestras In Wichita and Duluth, as well as at Artpark, Meadowbrook and the Caramoor Festival.

GEORGE SHIRLEY. i'lppearing four times as Alfred in Die Fledermaus, grew up in Detroit , studied at Wayne State University, and has gone on to become one of America's most -exciting and versatile tenors His previous Michigan Opera Theatre performance - as Pinkerton In Madame Butterfly at Matrix : Midland - was acclaimed by critics and audiences alike in the summer of 1978.

Mr; Shirley's opera credits include La Boheme in Tokyo and again - opposite Monserrat Caballe - for the Connecticut Opera Association; Shuisky in Boris Godunou In Tulsa; Loge in Dos Rhelngold at Royal Opera Covent Garden, and major appearances with the Metropolitan Opera, Chicago Lyric Opera San Francisco Opera, Netherlands Opera , Teatro Colon In Buenos Aires, the Scottish Opera, L' Opera de Monte Carlo and summer festivals at Glyndebourne and Santa Fe

He has sung Mahler's Das Liede uon der Erde in Indianapolis, Dublin and Tehran; the Strauss Electra with Antal Dorati and the Detroit Symphony , and the Verdi Requiem with the Philadelphia Orchestra under Eugene Ormandy both at the Philadelphia Academy of Music and at New York's Carnegie Hall.

ALMA JEAN SMITH. who will sing three Rosalindas In Die Fledermaus this season, won the coveted Metropolitan Opera National Auditions In 1974. Since then , she has been a regular member of the Met company; her roles

there have Included Papagena In The Magic Flute, Nlade In Ariadne auf Naxos , Tebaldo in Don Carlo and Barbarlna in The Marriage of Figaro She made her European debut as Flordlligl in Cosi fan tutte at the 1977 and 1978 Spoleto Festivals

In constant demand for orchestral appearances, Miss Smith has a repertOire ranging from standard works such as the Schubert Mass in G and The Messiah to such contemporary pieces as Les Noces and The Children's Crusade by Pierne. She has sung the Verdi Requiem with Eugene Ormandy and the Mozart Exsultate in Cleveland.

MOT Artist Interns

GEORGE BUFFORD holds BA and MA degrees In Voice from Eastern Michigan University, where he also taught voice and directed the Opera Workshop. His theatrical experience ranges from Kaspar in Amahl and the Night Visitors to Scratch in The Deuil and Daniel Webster and Snoopy in You're a Good Man, Charlie Brown. His ,latest appearances were with the Comic Opera Guild In the 1980 Gilbert and Sullivan Festival at the Red Barn Theatre In Saugatuck

COLEEN DOWNEY first appeared on the Music Hall stage in the choruses of Leonard Bernstein's Mass and EI Capitan Her roles at MOT have included Papagena in The Magic Flute and Nanette In Naughty Marietta She was a member of the MOT Artist Intern program last season , and has just returned from the 1980 Opera Festival at Lake George, NY DAVID PARKS is a graduate of Westminster ChOir college in Princeton, NJ, and a candidate for his Masters in Voice from the University of Michigan . This summer he appeared as Alfred in Die Fledermaus with the Interlochen Opera Theatre; this spring he sang Frederic In Pirates of Penzance with Ann Arbor's Gilbert and Sullivan SOCiety and Lucano in Coronation of Poppea with the University of Michigan Opera He was a member of the chorus for the Spoleto Festival In Italy for four years.

MICHAEL VAN ENGEN. an Iowa native and graduate of Morningside College there , has just completed his studies at the College Conservatory of Music in Cincinnati During his course of study there, he received the Norman Trelgle Memorial Scholarship, awarded nationally through the New York City Opera. He has apprenticed for two seasons with the Santa Fe Opera, and has appeared with the Cincinnati Opera and the Center Civic Opera in Covington, Kentucky

MOT Pub Crawl

..

This season's Die Fledermaus is the fifth fulllength MOT production to the credit of stage director DOMINIC MISSIMI , who has been responsible in past seasons for Naughty Marietta, Carmen, The Pearl Fishers, and a second production of The Pearl Fishers at Matrlx :Mldland For MOT Opera-In-Residence he also directed one-act productions of Rumplestiltskin and Rita, and for the Music Hall Center he created stagings of EI Capitan and Bernstein's Mass.

Missimi received his BA from the University of Detroit, later serving on that school's faculty while obtaining a Masters from Wayne State. He has taught and administered in the arts at University of Detroit, Marygrove College and Long Island University in New York. He returned to the Midwest to direct the premiere of the Leslie Bricusse musical Scrooge and the Chicago Opera Theatre 's Italian Girl in Algiers

Following this production of Die Fledermaus , Mr. Missini has been signed to stage Puccini's La Rondine in Chicago and Verdi's La Traviata in Augusta

MARK D_ FLINT, conductor for both Die Fledermaus and Don Giovanni, comes to his fourth season as Music Director of Michigan Opera Theatre directly from the Pennsylvania Opera Festival in Pittsburgh, where he conducted their production of Carmen In December he will add to his responsibilities the role of Music Director for Western Opera Theatre, for whom he is to conduct Elixir of Love and Romeo and Juliet, repeating the latter work with the San Francisco Spring Opera For MOT Flint has conducted The Pearl Fishers, Carmen, La Boheme , Showboat and The Student Prince; he both staged and conducted touring productions of Madame Butterfly , La Traviata and Hansel and Gretel. As Principal Conductor of the Lake George Opera Festival, he has led performances of The Merry Widow , Don Giovanni , Student Prince and Madame Butterfly.

Flint serves as Music Director of the Young Resident Artists at Lake George , and is Director of the Artist Intern Program at MOT This spring he staged and conducted an acclaimed production of La Boheme for the Los Angeles Opera and , in March, not only staged MOT's touring production of Don Pasquale, but also stepped in at the last moment to portray the title role

RICHARD WINKLER, lighting designer for Die Fledermaus, has designed for the past six seasons of the Dallas Civic Opera. Some of his credits include La Cenerentola, Rigoletto, La Boheme , Salome and Madame Butterfly. For the Greater Miami Opera Guild he created the lighting design for The Abduction and for the Houston Grand Opera he recreated his Cenerento/a

His Broadway designs include the current Your Arms Too Short to Box With God, and Shirley Bassey Concert, Something 's Afoot , Best Friend and The Play's the Thing.

MOT Orchestra

F1RSTVIOUN

Charlotte Merkerson.

Concertmaster

Patricia Karakas

Mary Calherlne Edwards

Calhy Spratt

Paula Klblldls

Francis Peterson

SECOND VIOLIN

Peruz Zerounian , Principal

Wilma Turco

Phyllis Flem ing

Lina Carcane

VIOU.

Ara Zerounlan, Principal

Gory Syrold

Margaret Lang

Meyer Shapiro

CELLO

Laura Deming Princlpol

Mlnka Chrisloff

Debra Mulder

Pamela Bush

DOUBLE BASS

Laura Slas. Principal

Marton Wengert

FLUTE

Wendy Hohmeyer, Principol

Dayno Hartwick

PICCOLO

Dayna Hartwick

OBOE

Paul Amarello Pr incipal

Mae Wong

ENGLISH HORN

Mae Wong

CLllRINET

Joel Warren , Prlnclpol

CarolOber

BASSOON

Pamela Dlon. Prlnclpol

VlclOrla King

HORN

John Dlon Principol

Karen Nixon

TRUMPET

James Underwood. Principal

Gordon S.mmons

TROMBONE

Maury Okun Principal

Gregory Near

TIMPANI

Donald liUZZi

PERCUSSION

Le.lie David

HARP

Palrlcla Terry

Detroit Federation 0/ Musicians

Local '5 A F OF M

Production Staff:

Dwight Bowes, Director 0/ Productions

Mark D Flint. Director, Artist', Intern Program

Manlyn Rennagel , LightIng Consultant

Roberl Murphy. Technical Director

Deborah Myers , AdminlstraUve Assistant

Tony Davis Executive Stage Manager

Bonnie Whalen , Costume Supervisor

Peggy Imbrie, Stage Manager

Marc Cervanla. Stage Manager

Abe Maius, Stage Production Carpenter

Dave Sugar, Moster Flyman

Tom Bryanl, Mosler Electrician

Jack Brock Properly Master

sandra Cottone Assistant Technical Dlreclor

Bernadine Vida, Wardrobe Mi$lre.u

Betsy Adams, ReSIdent Assistanl Lighting DeSigner

Steven Horak Make -up Superv isor

J C. Sealy Movement Instructor

Siage Employees Local '38 IATSE

Music Staff

Mark D Flint. Music Director

Robert Myers, Chorus Moster

George Darden , Coach/Accompanist

John Dian, Orchestra Personnel Manager

Mark Gibson. Music Intern

Production Interns

Sharon Dick , Stage Management

Elizabelh Eckert Music

Gilbert Huochln • Technical

Jim McMann , Technical

Stephanie Savin Stage Management

Bev.,ly A Smllh Coslumlng

Julie Stofk, Costuming

CARLISLE FLOYD

Music Drama in Three Acts

September 26 , 28

October 1, 3, 4 , 1980

libretto

Carlisle Floyd

after the nouel and play b y

John Steinbeck conductor

John DeMain director

Carlisle Floyd

lighting

Robert Jared costumes

Bonnie Whalen

scenery

Jules Lauve for th e

Neuada Opera Association

assistant conductor

George Darden

reduced orchestrations

James Medvliz

chorus master

Robert Myers

stage manager

Marc Cervanla

THE CAST

Lennie Small Robert Moulson September 26, October 1, 4 Barry Busse September 28, October 3

"""'V'!:I'" Milton _ Lawrence vVVIJ''''

James Longacre' Candy ... _ Jack Bittner

Curley's Wife Elizabeth Wakefield

Slim Louie Otey Carlson __ Jeff Allyn'

Ballad Singer Kevin Skiles' Ranch Hands Bufford', Peter Dog

Robert Mince', David Ross Stutzman', David Liz Keogh)

Michael Doll' , Schmidt' , , Michael van Engen'

• MOT Artist Intern Program

THE SCENE

An agricultural in northern California

Scene One: a dearing in the woods

Scene Two: the bunkhouse

ACT TWO

The Bunkhouse

ACT

Scene One: the barn

Scene Two: a in the woods

There will be fifteen-minute intermissions between acts.

Copyright 2010, Michigan Opera Theatre

WHO'S WHO

LENNIE is a California migrant worker, slowwitted and childlike by nature but physically very strong. GEORGE , another migrant worker , has become his close friend and protector. The third central character is CURLEY'S WIFE - attractive , flirtatious and bored. CURLEY owns the ranch on which much of the action takes place; SLIM is his foreman and CANDY is an old ranch hand.

THE STORY

ACT ONE: The opera begins with flashing searchlights and the wail of police sirens as George and Lennie enter, fleeing from another in a series of situations caused by Lennie's pathetic inability to stay out of trouble. The exasperated George finds that Lennie is carrying with him the body of a mouse he accidentally killed by stroking it too forcefully. While George disposes of the dead mouse, Lennie describes his love for soft things he can stroke and pet In order to console his friend , George reminds him of their common dream: to own a small house and farm of their own. Lennie , unable to restrain his excitement , joins George in remembering the many details As the two men settle down for the night, a police siren wails ominously in the distance.

The scene shifts to the bunkhouse on Curley 's ranch the folloWing evening, where Curley and his wife are arguing. She complains that he is neglecting her, and threatens to find someone else to treat her better. He orders her to go back to the house and forbids her to enter the bunkhouse again. The bUilding fills with ranch hands - among them George and Lennie, who have just been hired. Slim, the stalwart ranch foreman, announces a new litter of puppies and, as the men clamor for them, Curley's wife reappears. She pretends to be looking for her husband while flirting brazenly with the embarassed workers.

When she is gone , the ranch hands begin harassing Candy to give up his old dog , whose smell is becoming unbearable in the bunkhouse Candy is· finally forced to surrender the dog, which is taken out and shot. A

WARNING

The use of recording equipment or cameras (with or without flash attachment) during performance is strictly prohibited by law.

Violations may result in suspended performance and will be prosecuted

young ranch hand comforts the old man by singing a lonely ballad as Lennie pleads with a distressed George for one of Slim 's puppies.

ACT TWO: George finds an ad In the newspaper offering a small house and farm for sale Rebuffing Slim's attempts to gently discourage the dream, George reads the ad to Lennie , who is playing with his new puppy. Overhearing the conversation, Candy offers to join in their plans , contributing his own savings toward the purchase price. With mounting enthus iasm the three men calculate that they will be able to purchase the property in just one month.

The merriment stops abruptly when Curley's wife returns and refuses to leave despite the men's warnings. When Curley returns and finds her there, he takes out his anger on Lennie, lashing out at him with a riding crop When George shouts to Lennie to protect himself , Lennie crushes Curley's hand . After the room empties , George, Lennie and Curley are alone again , re-readlng the want ad that represents their fading dream

ACT THREE: Lennie has killed his puppy through excessive fondling, and is hiding it in the loft of the barn when Curley's wife enters, carrying a suitcase and obviously preparing to run away. She and Lennie begin to confide their dreams and fantasies, each caught up and unaware that the other is speaking. She wants to become a glamorous movie star ; he wants a farm with pets to stroke.

When Lennie is attracted to her soft, smooth hair, Curley 's wife allows him to stroke it When he refuses to stop , however , she becomes frightened Lennie, terrified of being found with her , tries to smother her screams and then , shaking her violently in anger , breaks her neck. Dimly realiZing what he has done , Lennie furtively leaves the barn .

The body is discovered by Candy, who calls George and Slim to the scene. Slim urges George to find Lennie and shoot him , since the only alternative is his capture at the vengeful hands of Curley Candy curses the body of Curley 's wife as George brokenly exits in search of his friend .

George finds Lennie In a nearby clearing , still unaware of the magnitude of their problem this time. Distracting the childlike man by describing again their dreams of a farm, George finally succeeds In firing the pistol and killing his friend at the moment Lennie ecstatically imagines he sees his house and farm in the distance The ranch hands converge on the two lonely figures and the Ballad Singer whistles a fragment of his song as the curtain falls.

THE COMPANY

Mr. DeMain was selected by Leonard Bernstein to be conductor and Music Director for the current Broadway revival of West Side Story; he will again conduct that work at the Bregenz Festival in Austria next summer.

CARLISLE FLOYD is one of the foremost composers of opera in the United States today, and is no less distinguished as a director and teacher. His Susannah, among the most successful American operas ever written , premiered at Florida State University in 1955 and was immediately included in the repertoire of New York City Opera It was also selected for the innaugural season of the Metropolitan Opera National Company and was America's opera entry in the Brussels World's Fair. During 1976 alone , Susannah received nineteen separate productions in England, Germany and the United States.

Subsequent to Susannah and Of Mice and Men, which premiered in 1970 , Floyd wrote Bilby's Doll on commission for the Houston Grand Opera, which first presented it in 1976. [t was also produced by Omaha Opera later the same year. His current opera project is Willie Stark, based on Robert Penn Warren's award-winning novel All the King 's Men; commissioned by the Kennedy Center, it has been scheduled for performance in 1981.

Floyd holds the prestigious M.D. Anderson Professorship in the School of Music, University of Houston ; he is also co-director of the Houston Opera Studio -a joint project of the university and Houston Grand Opera He is currently chairman of the newly created Opera-Musical Theatre Panel of the National Endowment for the Arts. His published works include four full-length operas, three one-act operas, and a number of compositions for piano, orchestra and voice.

JOHN DeMAIN is beginning his second season as Music Director of the Houston Grand Opera, where he has conducted productions of Werther, La Traviata, The Grand Duchess of Gerolstein, The Vagabond King, Otello, Madame Butterfly , Regina, Hello Dolly, The Merry Widow, Aida, A robello , Felstaff and Tosca He was also Music Director for the Houston Grand Opera's Porgy and Bess, for the recording of which he was honored with a Grammy Award and the Grand Prix du Disque of France.

Mr. DeMain has guest conducted with orchestras in Pittsburgh, San Diego, Houston, Boston and SI. Paul. He will debut this season with the Detroit Symphony Orchestra in concerts December 12 and 14, and also with the Vienna Symphony. He will conduct productions of Carmen and Die Fledermaus for the Houston Grand Opera this season, as well as the world premiere of Carlisle Floyd 's Willie Stark and an anniversary gala featuring Renata Scotto , Placido Domingo and the Houston Symphony.

-.

JEFF ALLYN, from Howell, Michigan, received his BA degree in Vocal Performance from Asbury College in Wilmore, Kentucky, and his MM from the University of Michigan , where roles have included Don Curzio in The Marriage of Figaro, Rodolfo in La Boheme, Nero in The Coronation of Poppea and Alfred in Die Fledermaus. He appeared as Luiz in The Gondoliers at Lansing Community College and Charlie in Brigadoon at the Croswell Opera House .

JACK BITTNER, Candy in Of Mice and Men, comes to the MOT anniversary season from the Goodspeed Opera House, where he was featured in their hit revival of George M. Cohan's Little Johnny Jones. His Broadway credits include such hits as Nobody Loves an Albatross, Tiger at the Gates, Witness for the Prosecution, Rashomon and Beggar's Holiday. Nominated for the Clarence Derwent Award for his performance in Margaret Webster's production of Richard III, Mr. Bittner later won an Obie for his work in Ivanov ; other off-Broadway appearances include Threepenny Opera, John Houseman's Coriolanus , Hogan's Goat, What Every Woman Knows , By Bernstein and Shaw's The Philanderer.

A veteran of some 32 Shakespearean productions and over 300 television shows , Mr. Bittner was a member of the New York City Company for seven years Boston and Washington audiences recently saw him as Lenin in Stoppard's Travesties , and in Buffalo he played a key role in the acclaimed premiere of Semmelweiss. His most recent Broadway appearance was earlier this year, in the shortlived Harold and Maude, with Janet Gaynor.

BARRY BUSSE, who is Lennie for two performances of Of Mice and Men, has been described by the prestigious English publication OPERA as having "vocal timbre and intonation reminiscent of the young Jon

Vickers." The occasion for that comment was his portrayal of Bothwell in Thea Musgrave's Mary Queen of Scots with both the San Francisco Spring Opera and Virginia Opera. He was equally as successful with the Santa Fe Opera as Alwa in the first American staging of the complete Lulu.

Mr. Busse has appeared with the San Francisco Opera in Billy Budd, Fidelio , Norma and Otello. His Miami Opera debut was as Des Grieux in Manon Lescaut; he returns this season as Cavaradossi in their Tosca. He has sung with the Houston Grand Opera, and last season appeared with the Lyric Opera of Kansas City in Vanessa and as Don Jose in Carmen

LAWRENCE COOPER - George in Of Mice and Men - has previously sung the role with the Nevada Opera in Reno; from Detroit he will travel to Wexford, Ireland, to repeat his portrayal there. A native of California, he began his professional career by winning the Grand Finals of the San Francisco Opera Auditions. He has since performed with many opera companies throughout the United States and Canada , including the Canadian Opera Company (Germont in La Traviata, Figaro in Barber of Seville , Marcello in La Boheme), the Western Opera Theatre (Dandini in La Cenerentola, Germont, Belcore in Elisir d'Amore, Figaro), the Hawaii Opera Theatre (Sharpless in Madame Butterfly) and many others. He repeated Dandini in La Cenerentola this summer for the Chautauqua Opera Festival.

Mr. Cooper has also sung with the San Francisco Symphony Orchestra in Mahler's Eighth Symphony and the Bach Magnificat, and with Arthur Fiedler and the San Francisco Symphony Pops His opera repertoire also includes two roles with which MOT audiences have reason to be familiar: lionel in Tchaikovsky's Joan of Arc, which he performed with the Nevada Opera, and Morris Townsend in Pasatieri's Washington Square, which he sang with the Augusta Opera.

ROBERT JARED, lighting designer for Of Mice and Men, has just completed lighting designs for the full 1980 repertory of the PaCific Conservatory for the Performing Arts. A graduate of Birmingham Seaholm High School, Albion College and the Yale School of Drama, he was on the MOT lighting staff last season and has worked with such designers as Tharon Musser, Thomas Skelton, Marilyn Rennagel and David F. Segal.

Mr. Jared created lighting for Yale Repertory Theatre premiere productions of The Bundle by Edward Bond, Terra Nova , Guesswork and Identity Crisis. He was principal designer for the entire touring repertory of the Connecticut

Ballet Company, and for the 1978 and 1979 Connecticut Dance Festivals.

JAMES R. LONGACRE, a native of Philadelphia , received his BM from the Philadephia College of Performing Arts in Opera. He was a featured soloist with the AIIPhiladelphia Boys' Choir and Men's Chorale for performances which included the Bob Hope Special taped in Peking, China, and a command performance for Anwar Sadat in Alexandria, Egypt. He has appeared in supporting roles with the Opera Company of Philadelphia, as well as in dinner theatres and commercials. He will make his debut with Opera Omaha this season as little Bat in Carlisle Floyd's Susannah, directed by the composer.

ROBERT MOULSON, who will portray Lennie for three performances , created his role in Of Mice and Men for the world premiere with the Seattle Opera Company. He has sung it since in many cities and returned to Seattle for the 1976 revival. He began his formal voice training after high school, when he turned down a football scholarship at Auburn University and registered at the University of Georgia. Further study followed at the New England Conservatory. Then on the advice of Jerome Hines he went to New York and within a year became a winner of the Experimental Opera Auditions, sang in New Orleans and made his debut with the New York City Opera Company in Carlisle Floyd's Susannah. A year's study in Milan followed before he returned to sing in Central City, Boston, San Francisco, Kansas City, Chautauqua, and on tour for two seasons with Kurt Adler's Golden Curtain Quartet. He has given more than 350 performances of leading tenor roles in Hanover, Frankfurt, Cologne, Stuttgart, Dusseldorf and Bonn. On this side of the Atlantic he has recently performed in Rlgoletto in Central City, Don Carlos in Vancouver, Cavalleria Rusticana and I Pagliacci in Edmonton and In Susannah in Mobile and Fort Worth.

LOUIE OTEY makes his Michigan Opera Theatre debut as Slim in Of Mice and Men. A member of Carlisle Floyd's Houston Opera StudiO , he appeared last season with Houston Grand Opera as Montano in Otello and as Yamadorl and the Imperial Commissioner in Madame Butterfly.

While studying with Ethel Maxwell at Memphis State University, Mr. Otey appeared with Opera Memphis as Silvio in I Pagllacci and Angelotti in Tasca, with Southern Opera Theatre as Dandini in Cinderella, Sharpless in Madame Butterfly and Father in Hansel and Gretel, and with the Memphis Oratorio SOciety as Raphael In Haydn's Creation and Joseph in Berlioz' Childhood of Christ.

KEVIN SKILES is a graduate of the University of the Pacific in Stockton, California He has sung Fernando in Cosi fan tutte and Nankl-poo In The Mikado with the Pacif ic Opera Theatre , as well as Tony in West Side Story and Lieutenant Cable in South Pacific with the Delta Summer Theatre He spent this past summer at Artpark in Lewiston , NY , where he sang the role of Elder Hayes in Carlisle Floyd 's Susannah.

ELIZABETH WAKEFIELD, Curley's Wife in Of Mice and Men, is a native of Michigan who has previously appeared with MOT in The Merry Widow, Die F/edermaus and The Student Prince , in which she sang the leading role of Kathy She was also one of the pioneers in the Opera-In-Residence program. She has been a scholarship student at Interlochen, the University of Michigan , the Hochschule fur Muslk in Munich and Indiana University , where she received her Master of Music degree

Ms. Wakefield has sung with the New York Lyric Opera, the Bronx Opera, the National Opera Company and Western Michigan Opera; her roles have Included Musetta in La Boheme, Norina in Don Pasquale , Martha and others. She has sung in concert for Columbia Artists in New York and throughout the United States; she recently returned from a concert tour of Europe .

BONNIE WHALEN, who designed the costumes for Carlisle Floyd ' s Of Mice and Men, is in her fourth season as wardrobe coordinator for Michigan Opera Theatre A graduate of the University of Detroit with a Bachelor of Fine Arts In Design , she has worked with the New York Shakespeare Festival , Santa Fe Opera and two seasons of Michigan 's Matrlx:Midland Festival.

In the Detroit area , Miss Whalen has worked with the Harbinger Dance Company , Meadowbrook Theatre and Greenfield Village Players

Production Credits

Floyd the Puppy courtesy of Macomb Pet Supplies, St. Clair Shores.

Celeste courtesy of the Detroit Symphony Orchestra.

Siren prOVided by Lt. Stesiak of the Detroit Fire Department.

MOT Orchestra

FIRST VIOLIN

Charlo He M erkerso n,

r

Concertmaste

Patricia Karakas

Mary Catherine Edwards

Cathy Spratt

Paula Kibildis

Francis Peterson

SECOND VIOLIN

Peru! Zerounlan, Pr incipal

Wilma Turco

PhylliS Fleming

Una Carcone

VIOlA

Ara Zerounlan, Pr i ncfpol

Gary Syrold

Margaret Lang

Meyer Shapiro

CEllO

Laura Dem ing, Principal

Mtnka Christoff

Debra Mulder

Pamela Bush

DOUBLE BASS

Laura Slas. Prlnclpol

Marion Wengert

A.UTE

Dayna Hartw ick

PICCOLO

Dayna Hartwick

OBOE

Paul Amorello

ENGLISH HORN

Paul Am orello

ClJ\RINET

Joel Warren

BASSOON

Pamela Olon

HORN

John Dion, PrincJpol

Kl'lren Nixon

TRUMPET

James Underwood

TROMBONE

Maur y Okun

TIMPANI

Don ald liuzzi

PERCUSSION

Leslie David

HARP

Patricia Terry

Celeste

George Darden

Detroit Federation 0/ MU Sicians, Local '5 A.F OF M

Production Staff

Dwight Bow es , Director of Productions

Mark D flint, Director , Artist's Intern Program

Marilyn Rennagel , Lighting Consultant

Robert Murphy , Technical Director

Deborah Myers, Administrative Assistant

Tony Davis, Executive Stage Manager

Bonnie Whalen, Costume SupervIsor

Peggy Imbrie, Stage Manager

Marc Cervanla, Stage Manager

Abe Malus , Stage Production Carpenter

Dave Sugar. Moster Flyman

T o m Bryant, Moster Electrician

Jack Br ock, Property Master

Sandra Cottone , Assistant Technical Director

Bernadine Vida Wardrobe Mistress

Betsy Adams , Resident Assistant Lighting Designer

Steven H ora k , Make up Superu ;sor

Bill Rayburn , Make up Artisl

Patrice Win slow Make up Arlfst

J e Sealy Movement Instructor

Stage Employees Local '38 IATSE

Music Staff

Mark D Flint , Mus Ic Director

Robert Mye , ChoNs Moster

George Darden, Coach / AccompanIst

John Dlon, Orchestra Personnel Manager

Mark Gibson, MusIc Intern

Production Interns

Sharon Dick, Stage Management

Elizabeth Eckert Mus ic

Gilbert Hutc hins , Te chn ical

Ji m McMann, Te ch nical

Stephan ie Savin, Stage Management

MOT Anniversary Cake from G N. Paris Bakery , Livonia _

Beverly A Smith, Costuming

Julie Stork , Costuming

FRANCO CORELLI

One of the greatest and most popular tenors of all time, making his first stage appearance in over three years.

JEROME HINES

The internationally acclaimed American basso, remembered by MOT audiences for his 1974 performance here as "Boris Godunov."

FORD AUDITORIUM SUNDAY, NOV. 16 AT 8:30 P.M.

MAIL and PHONE ORDERS ACCEPTED NOWI Call 963-7680 for CHARGE SALES. or FILL OUT and MAIL COUPON BELOW.

TICKET PRICES:

A. Patron

B. Main Floor

C. Main Floor Rear

D. Front Balcony

E. Rear Balcony

$35 ($20 deductible donation)

$20 ($10 deductible)

$15 ($7.50 deductible donation)

$20 ($10 deductible donation) $10 ($5 deductible donation)

Please send _______ tickets for section _______ @ $ _______ each.

Total due $ ___ Check or money order enclosed.

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Copyright 2010, Michigan Opera Theatre

Dorit Miss the Magic.

Michigan Opera Theatre's lOth Season.

NEXT AT THE MUSIC HALL:

In English

!talo Tajo returns to MOT to direct some of America's greatest voices in our first production of this witty, passionate masterpiece - often called the greatest opera ever written!

WOLFGANG AMADEUS MOZART

libretto

Lorenzo Da Ponte

English version

Ruth and Thomas Martin by arrcmgE1me'nt Boosey Inc, , publishers and copyright owners conductor

Mark D. Flint director

Halo Tajo sets

Paul Shortt for the Cincinnati Conservatory of lighting

Marilyn Rennagel

costumes

Malabar. Ltd.

Toronto

Opera in Two

October

continuo

George Darden

chorus master

Robert Myers

stage managers

Tony Davis

Peggy Imbrie

makeup and wig

Lena Rashkovsky

Steven Horak

THE CAST

LeporeJJo Pierre Charbonneau

Donna Anna .... Carolyn Val-Schmidt - October 10, 12, 17

Doralene Davis - October 15, 18

Don Giovanni Andreas Poulimenos - October 10, 15, 18

Marc Embree - October 12, 17

The Commendatore Paul Schmidt'

Don Ottavio .... Robert Guarino

Donna Elvira " Wilhelmenia Fernandez

Zerlina .. . . Mary Callaghan Lynch

Masetto Michael van Engen'

•Member, MOT Artist Intern Program

MOT ARTIST INTERNS

Jeff Allyn

George Bufford

Holly Cairns

Vertrelle Cameron

Peter Clegg

Michael Doll

MOT AUXILIARY CHORUS

Ed R Cartwright

Marie Fiorillo

Elizabeth A. Mar-Aston

Leslye Sklar

Anna Speck

Robert Winston Sullivan

Hezekiah Williams

Coleen Downey

James Longacre

Carol Madalin

Robert Mince

Anne Nispel

David Parks

MOT DANCERS

Dale Austin

Greg Butler

Holly Cairns

Ed R Cartwright

Carol Madalin

Maggie Rees

Chris Robinson

dances choreographed by Stephanie Savin

ON·STAGE BANDA

Maggie Rees

Paul Schmidt

Kevin Skiles

David Stork

Ross Stutzman

Michael van Engen

MOT SUPERS

Joe Anzur

Helene Mayo

Boo McNamara

Terry Prim

Robert Paul

Michael Wellman

Deanna Burrows

Therese Ciaramitaro

John Dunn

Julie Endicott

AI Flanagan

Timothy Hill

Sharon LeMieux

Lenore Mcintyre

Margaret Parkins

Alison Paskal

THE SCENE

Seville , Spain, in the mid -se venteenth century

There will be one intermission.

Alfred Payton

Shawn Rodger

Oneonta Smith

Joseph Tucker

Sue Wilson

ACT ONE: The opera opens in a garden by the Commendatore's palace, where Leporello is waiting for his master and complaining about his duties. In a sudden commotion Donna Anna and Don Giovanni enter from her bedroom , which he has entered to seduce her. She is crying for help ; he is trying to conceal his identity until he can escape. She finally runs off without seeing her attacker's face.

Don Giovanni is immediately confronted by Domna Anna's father, the Commendatore, who challenges him to a duel. Giovanni refuses to fight so old a man, but the Commendatore insists and is quickly slain. Giovanni and Leporello flee as Donna Anna returns with her fiance, Don Ottavio Finding her father murdered by the unknown intruder, she makes Ottavio swear vengeance

The next morning Leporello attempts to lecture his master on his excesses He is interrupted when Don Giovanni senses a woman approaching and hides to eavesdrop The two men hear Donna Elvira bemoan her unhappy fate : seduced , abandoned, and left to seek the man responsible - either for marriage or for revenge Don Giovanni comes out from hiding to offer help , only to realize that he is the guilty party! He distracts her attention and escapes, leaving Leporello to discourage her by describing the extent of his master's conquests: 640 in Italy, 231 in Germany, 100 in France, 91 in Turkey and 1,003 in Spain.

Don Giovanni and Leporello next come upon Zerlina and Masetto, who are to be married that day. The nobleman takes a fancy to Zerlina and invites all the peasants to his home for a celebration Leporello and his master finally force a reluctant and suspicious Masetto to go off, leaving Giovanni alone with Zerlina. The nobleman begins his seduction by promising to marry Zerlina and make her a great lady if she ' ll only go with him. Zerlina wavers and has finally agreed when Donna Elvira comes upon them and, over Giovanni's strenuous objections, takes the thoroughly bewildered Zerlina away to safety.

Donna Anna and Don Ottavio come to request Don Giovanni's assistance in finding her father's murderer. Donna Elvira returns to reproach him but Giovanni , relieved that Anna does not recognize him and dismissing Elvira as a mental case , goes off.

Suddenly a horrified Donna Anna recognizes his voice as that of her father's murderer. She

WARNING

The use of recording equipment or cameras (with or without flash attachment) during performance is strictly prohibited by law.

Violations may result in suspended performance and will be prosecuted

paSSionately describes the events of that night and again calls on her fiance to avenge her. Don Ottavio promises to share her burden and discover the truth.

After their departure, an exuberant Don Giovanni prepares for his party, ordering Leporello to keep the wine flowing and promiSing twelve new conquests by dawn.

En route to the party, Zerlina tries to appease Masetto's anger at her apparent infidelity

After a sort of unintentional "hide and seek " with the jealous Masetto , Don Giovanni ushers in all his guests. He even has Leporello invite Donna Anna, Donna Elvira and Don Ottavio, who arrive masked , determined to punish the libertine.

As three different dances proceed, Leporello distracts Masetto while Don Giovanni entices Zerlina into another room. Her subsequent screams lead Anna, Elvira and Ottavio to unmask and confront Giolianni with accusations of his crimes. Giovanni jublilantly escapes, fending off Ottavio's drawn sword , as the curtain falls.

ACT TWO: Under Donna Elvira's balcony, Leporello and Don Giovanni exchange cloaks so that Elvira will follow the servant. The ruse works, Leporello and Elvira go off in the dark, and Giovanni is free to serenade Elvira's maid. When Masetto and a band of peasants appear in search of Don Giovanni , he pretends to be Leporello , sends them off in several directions, and then beats up Masetto. Zerlina rushes to console her fiance.

Leporello is trying to lose Elvira in the dark when Donna Anna, Don Oltavio, Zerlina and Masetto appear, eager to punish the supposed Don Giovanni despite Elvira's sudden protests. Leporello discloses himself to be only the servant, promises to help them and then escapes in the confusion

Giovanni and Leporello meet in a deserted cemetery by the tomb of Donna Anna's slain father. A newly erected statue of the Commendatore suddenly speaks , warning Giovanni of his doom. Leporello is terrified, but his master defiantly orders him to invite the statue to dinner , and the statue solemnly accepts.

In Anna's palace, Ottavio urges her to forget her grief and accept his love, but she implores him to wait until her father is avenged. Meanwhile, Don Giovanni and Leporello are completing supper arrangements as an orchestra plays a medley of tunes from popular operas (including Mozart's own "Le Nozze de Figaro"). Elvira rushes in, begging Giovanni to reform , but he mocks her. As she is leaving she suddenly screams, and Leporello is sent to investigate. He returns, terrified, announces that the statue has arrived , and hides. Don Giovanni bravely greets the statue, which offers him a chance to repent. When he refuses, the statue leads him into hell. The other characters converge on the scene to make plans for the future and underline the moral: sad is the fate of a libertine.

THE COMPANY

PIERRE CHARBONNEAU makes his Michigan Opera Theatre debut as Leporello in Don Giouanni. but his career has already spanned the North American from Vancouver where he has five consecutive seasons in such as Hunding. Ramfis, Lothario and Don Basilioto Mexico where he made his debut last season with Velazco conducting Verdi's Requiem.

Charbonneau appears regularly in Edmonton and Winnipeg in his Canada, and has in the United States with opera Washington. Miami, New Orleans, Providence. Dayton and Toledo. His New debut was as Peneois in Strauss's Daphne at Avery Fisher Hall, Lincoln Center.

His roles during the 1980-1981 season will include Arkel in Pelleas et Melisande. Timur in Turandot, Ferrando in 1I Troua/ore and Don Magnifico in Rossini's Cinderella.

DORALENE DAVIS, who is singing two performances as Anna in Don Giovanni, is with Jan and Rodney Stenborg ret,unninlg for this anniversary season as a veteran of Theatre's earliest days. When first assembled area talent under the banner of Overture to excerpts from those works for the Metropolttan tour. Doralene Davis then Doralene of Pleasant Ridge protrayed Aida and Donna Elvira, among others.

and La COI1dllct()r for both to as Music Director of Michigan directly from the Pennsylvania in Pittsburgh. where he production of Carmen. will add to his responsibilities Director for ,Western Opera he is to conduct Elixir of Romeo and Juliet, repeating the laller work with the San Francisco Spring Opera,

and conButterHansel and Gretel. As CondIJcl()r of the Lake George led performances of Don Giovanni, Student Prince Madame Butterfly.

Flint serves as Music Director of Resident at Lake George, Artist Intern staged and cor1dulcte'd PI'OdllCti()O of La and. in production stepped jn at the title role'

Since then the acclaimed soprano has been a soloist in Handel's Messiah for five consecutive seasons with the Philadelphia Orchestra. In 1979 she sang Haydn's Creation with Eugene in Philadelphia. in New York's and in the Saratoga Performing Arts She has made many appearances with the Detroit Symphony. including a staged version of Strauss's Elektra conducted by Antal DoratL

MARC EMBREE, who is the title role in Don Giovanni on October and 17, is equally at home in opera, oratorio, recital and musical comedy His 1978 New York City Opera debut was as Zuniga in he has since sung Colline in La Boehme. in Le Coq d'Or and Des Grieux in Manon both at the State Theatre in Lincoln Center and on tours to Los Angeles and Was:hingiton. D.C.

Mr. Embree has sung Don Giovanni with the George Opera Festival and the Opera Association, and he will perform same role later this season in Annapolis and He is a regular with the Opera Theatre of where his roles have included the Music in Ariadne auf Naxos. Emmons in Paulus' The Vii/age Singer. Peutemann in Von Resnicek's

opera Spiel oder Ernst and the Speaker in The Magic Flute. This season he will return to St Louis as the Count in their Marriage of Figaro.

WILHELMENIA FERNANDEZ returns for her second consecutive season with Michigan Opera Theatre as Donna Elvira in Don Giovanni. Her debut here last season was as Musetta in La Boheme - the same role in which she had previously triumphed at the Paris Opera. Having first come to international attention as Bess in the Houston Opera Porgy and Bess on Broadway and on tour throughout Europe, the young soprano followed her last appearance here with a revival of La Boheme in Paris and work in Europe on her first feature film.

A graduate of the Academy of Vocal Arts in Philadelphia, her professional opera debut was in 1974 as Antonia in Tales of Hoffmann with the New Dra-Mu Opera, where she subsequently added Violetta in La Traviata and Marguerite in Faust to her repertoire. Other credits include the title role in Aida with the Kansas City Lyric Opera (which will be revived next fall). Later this season she will sing Porgy and Bess with the Charlotte Opera, and she is scheduled to open their 1981-82 season with another La Boheme.

ROBERT GUARINO, who is Don Ottavio in this season's performances of Don Giovanni, has previously appeared with the Lake George Opera Festival, the St. Paul Opera, Providence Opera Theatre, Eastern Opera Theatre of New York, and Brooklyn Opera Society, among others. He was highly praised in The New York Times recently for his performance as Nemorino in L'Elisir d'Amore.

Mr. Guarino has appeared in concert at the Waterloo Music Festival in New Jersey, with the Eastern Connecticut Symphony, the Long Island Choral Society, and with the Boston Symphony at Tanglewood, where he was awarded a fellowship for two summers. His many other rewards include first prize in the 1978 Llederkranz Foundation Awards, first prize in the Washington International Competition for Singers, and a National Arts Club Award.

MARY CALLAGHAN LYNCH, who is singing Zerlina in Don Giovanni, has previously worked with MOT in Madame Butterfly, Naughty Marietta, and The Student Prince, among others. Last season she was Musetta in La Boheme with MOT and the Allen Park Symphony, and Gretel in our touring production of Hansel and Gretel.

Ms. Lynch began her studies with the Interlochen Opera Theatre, where she worked with Boris Goldovsky, and received her BFA from Marygrove College. Her professional appearances have included an engagement at the Village Gate in New York City, as well as numerous television and radio commercials.

ANDREAS POULIMENOS, singing the title role in three performances of Don Giovanni, will be remembered by MOT patrons for two roles last season: Marcello in La Boheme and Lionel in Joan of Arc. Michigan audiences have also seen him as Sharpless in Madame Butterfly for MOT, as Don Alfonso in Cosi fan tutte with Michigan State University and as Falstaff for the Opera Association of Western Michigan.

Mr. Poulimenos was a winner of the Metropolitan Opera New England Regional Auditions and the recipient of a Fulbright Scholarship to study in Rome. He appeared as soloist with the Boston Pops Orchestra under Arthur Fiedler in the nationally televised Canticle of Christmas, and has sung Messiah at both the Worchester Music Festival and in Boston's Symphony Hall, as well as performing the St. Matthew Passion with the Chorus Pro Musica. Mr. Poulimenos is currently on the faculty of Bowling Green University.

PAUL SCHMIDT currently lives in Pittsburgh, and has sung with the Pittsburgh Opera, Pittsburgh Chamber Opera and the Pennsylvania Opera Festival, among others. As an apprentice at the Lake George Opera Festival this summer, he portrayed Von Mark in The Student Prince and also achieved second place in the David Lloyd Awards competition. Schmidt holds degrees in music and opera from William Jewell College in Liberty, Missouri, and Memphis State University.

CAROLYN VAL-SCHMIDT, who is Donna Anna in three performances of Don Giovanni, debuted with the Metropolitan Opera in the Widely-acclaimed production of Benjamin Britten's Death in Venice. Last season she pleased both audiences and critics as Donna Anna in Artists Internationale's production of Don Giovanni, which featured Justino Diaz in the title role.

Miss Val-Schmidt has sung leading roles at the Temple University Music Festival, the Lake George Opera Festival and Asolo Opera. She was a member of the Mini-Met, and created the role of Betsy Hamilton in the AI Carmines opera The Duel. Her professional debut was with the Turnau Opera, where she starred in the roles of Countess in Le Nozze di Figaro and Belissa in Don Perlimplin. Miss ValSchmidt inaugurated Manhattan's Soho Baroque Opera Company in performances featuring works of Rameau, Gretry, Telemann, Paisiello and Cimarosa.

On the concert. stage Miss Val-Schmidt has been soloist with the esteemed Clarion Concerts in performances of Messiah, Mozart's Requiem and Poulenc's Gloria. She has appeared with the Newport Music Festival in Its 1978 and 1979 seasons, and has been soloist for several seasons with the Joffrey Ballet.

Copyright 2010, Michigan Opera Theatre

MICHAEL VAN ENGEN, an Iowa native and graduate of Morningside College tfJere, has just complete d his studies at the C( liege Conservatory of Mu sic in Cincinnati. Dclr ing his course of study there, he received the Norman Treigle Memorial Scholarship, awarded nationally through the New York City Opera. He has apprenticed for two seasons with the Santa Fe Opera , and has appeared with the Cincinnati Opera and the Center Civic Opera in Covington, Kentu cky. As a concert soloist, he toured Poland and Russia and ha s sung with symphonies in North Carolina and Cincinnati. As an MOT Artist Intern, he was featured as Frank the prison warden in this season's production of Die Flede rmaus.

MARILYN RENNAGEL, who is des ign ing the lighting for Don Giovanni as well as serving as lighting consultant for the overall season, will be remembered by MOT patrons for her work last season on Joan of Arc and II Trovatore In Miami she designed lighting for Rigoletto and La Fan ci ulla del West; and in Dallas she has designed Aida , The Barber of SeVille, Manon and La Traviata

Ms Rennag e l was recently repres e nted on Broadway by the lighting of Clothes for a Summer Hotel and Pet er Allen Up in One . She has created lighting for such entertainers as Rod Stewart, Billy Preston , Linda Ronstadt, Diana Ross a nd Bernadette Peters She recently designed the Los Angeles Civic Light Opera pr od uction of On a Clear Da y You Can See Forever , and was lighting consultant for the Barry Manilow World Tour. She has been lighting des igne r for the Oldsmobile show for the past two years.

Production Credits

MOT Orchestra

FIRST VIOLIN

Charlone Merkerson.

Con ce rtmaster

Patricia Karakas

Mary Catherine Edwards

Calhy Spratt

Paula Kibildis

Fran Cis Peterson

SECOND VIOLIN

Peruz Zeroun ian Principal

Wilma Turco

Phylli S Fleming

Lina Carcone

VIOLA

Ara Zeroun ian Principal

Gary Sy ro id

Margare l lang

Meyer Shapiro

CEllO

Laura Deming PrinCipal

Minka Ch ri stoff

Debra Mulder

Pamela Bush

DOUBLE BASS

Laura Sias. Principal

Ma rion Wengert

FLUTE

Dayna Har1wick. PrinCipal

Pamela HIli

PICCOLO

Dayna Hartwick

OBOE

Paul Amorello. Prlnclpol

Jane Green

ENGLISH HORN

Jane Green

ClARINET

Joel Warren. Principal

CarolOber

BASSOON

Pamela Dien, Principal Vidoria King

HORN

John Dion Principal

Karen Nixon

TRUMPET

James Underwood. Principai·

Gordon Simmons

TROMBONE

Maury Okun Princ i pal

G regory Near Th omas Cook

TIMPANI

Donald Liuui

HARP

Patricia T erry

MANDOLIN

linda Puroff

HARPSICHORD

Georg e Darden

Detroit Federation of Musicians.

Local '5 A.F OF M

Production Staff

Dwight Bowes, Director of Productions

Mark D Flint. Director, Artist's Intern Program

Marilyn Rennagel, Ughting Consultant

R obert Murphy. Technical Director

Deborah Myers , Administratiue Assistant

T ony Davis. Executive Stage Manager

Bonnie Whalen. Costume Superuisor

P eggy Imbrie. Stage Manager

Marc Ce r vania Stage Manager

Abe Malus , Stage Production Carpenter

Dave Sugar Moster Flyman

Tom Bryant. Master Electrician

Jack Brock. Property Master

Sandra Conone. Assistant Technical Director

Betsy Adams, ReSident Assistant Lighting DeSigner

Sleven Horak , Make up Superu is or

Julie Sio r k , Wardrobe Mistress

Bill Rayburn Jr., Make up Artist

Patrice Winslow. Make -up Artist

Stephanie Savin. Mouement Instructor

Diane Jam ison. Seamstress

Siage Employees Local -38 IATSE

Music Staff

Mark D Flint, Music Director

Robert Myers. Chorus Moster

George Darden Principal Coach / Accompanist

John Oion Orchestra Personnel Manager

Mark Gibson. MU SiC Intern

OPERA CJHEATER 1980

Thursday, October 30 6 p.m. to Midnight

Buttons on Sale In Lobby

Production Interns

Sharon Di ck, Stage Management

Elizabeth Eckert. Musi c Administration

Gilbert Hutchins Technical

Jim McMann Technical

Stephanie Savin. Stage Management

MOT'S SPECIAL TENTH ANNIVERSARY CONCERT

FRANCO CORELLI

One of the greatest and most popular tenors of all time , making his first stage appearance in over three years

JEROME HINES

The internationally acclaimed American basso, remembered by MOT audiences for his 1974 performance here as "Boris Godunov ."

FORD AUDITORIUM SUNDAY, NOV. 16 AT 8:30 P.M.

MAIL and PHONE ORDERS ACCEPTED NOWI Call 963·7680 for CHARGE SALES, or FILL OUT and MAIL COUPON BELOW .

TICKET PRICES:

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C. Main Floor Rear

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E . Rear Balcony

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Copyright 2010, Michigan Opera Theatre

Don't Miss the Magic.

Michigan Opera Theatre's lOth Season.

Die Fledermaus Of M , ice and Men

Sept. 12, 13, 14, 17, 19, 20 Sept. 26, 28, Oct. 1, 3, 4

Don Giovanni

Oct. 10, 12, 15, 17, 18 Oct. 2 ,29,31 , Nov. 1*

*In Italian

NEXT AT THE MUSIC HALL: Verdi's RIGOLETTO

One of the world's best loved operas, filled with glorious music! Rhoda Levine directs and W. Anthony Waters conducts two superb casts, with your choice of Italian or English language performances.

OCTOBER 24 & NOVEMBER 1 - In Italian with Leigh Munro, Charles Long, Riccardo Calleo, Matteo de Monti, and Alexandra Hughes.

OCTOBER 26, 29 & 31 - In English with Gwendolyn Bradley, Rodney Stenborg, Tonio Di Paolo, Matteo de Monti, and Alexandra Hughes.

Tickets by phone

libretto

Francesco Maria Piave

English Version

Joseph Machlis

conductor

W. Anthony Waters director

Rhoda Levine sets

James Merrill Stone

GIUSEPPE VERDI

costumes

Malabar, Ltd. Toronto

lighting

Curt Ostermann

Opera in Four Acts

October 24, November 1 , 1980

In Italian

October 26, 29, 31, 1980

In English

chorus master

Robert Myers

principal coach

George Darden

stage managers

Tony Davis

Peggy Imbrie

Marc Cervania

makeup and wig design

Steven Horak

Copyright 2010, Michigan Opera Theatre

THE CAST

The Duke of Manlua Riccardo Calleo - Oclober 24 , November 1

Tonio DiPaolo - Oelober 26 , 29, 31

Rigoletto Charles Long - Oclober 24, November 1

Rodney Slenborg - Oelober 26 , 29, 31

Gilda Leigh Munro - Oclober 24, November 1

Sparafucile Maddalena

Gwendo lyn Bradley - Oclober 26, 29, 31

Malteo de Monli

Alexandra Hughes

Giovanna · Carol Madalin' - Oclober 24 , November 1

Holly Cairns' - Oclober 26,29,31

Counl Monlerone Paul Schmidl'

Marullo · Michael Doll' - October 24, November 1

Robert Mince' - October 26,29,31

Borsa · Peter Clegg' - October 24, November 1

Jeff AUyn' - October 26 , 29, 31

Count Ceprano Ross Stutzman'

The Counless Margaret Rees'

The Court Usher David Stork'

The Duchess' Page ... . . Anne Nispel' 'Member , MOT Artist Intern Program

MOT Artist Interns

Jeff Allyn

George Bufford

Holly Cairns

Vertrelle Cameron

Peter Clegg

Michael Doll

Coleen Downey

James Longacre

Carol Madalin

Roberl Mince

Anne Nispel

David Parks

Maggie Rees

Stephanie Savin

Paul Schmidt

Kevin Skiles

Ross Stutzman

David Stork

Michael van Engen

MOT Auxiliary Chorus

Larry N Bate

Jonathan Blackshire

Norman Brinkman

Fred Buchalter

Ed R. Cartwright

Peter A. Cartwright

Christian P Ch"aubet

T imothy Hanel

Robert Kinnear

Donald M. Matthews

Robert L. Morency

A. Michael Sochacki, Jr.

Robert Winston Sullivan

Fred Turner

Hezekiah Williams

Richard L. York

THE SCENE

MOT Supers

Melanie AI-Shabkhoun

Joe Anzur

Dale Austin

Stanley Beattie

Richard Brownes

Diane Dobson

Sarah Fraser

Leone Gierczak

Don Johannes

Terry Prim

Barbara Sadowski

George Schmidl

WHO'S WHO

Rigoletto unfolds within the court of the DUKE OF MANTUA, an arrogant libertine proud of his success with women RIGOLETIO is the cynical, hunchbacked court jester; his sharp tongue has earned him the enmity of everyone at court, but the Duke's favor protects him.

Unknown to the Duke and the court , Rigoletto has a daughter, GILDA, whom he keeps hidden away as protection from the evils of the world - especially from the Duke's roving eye.

The other father in the opera is COUNT MONTERONE , whose daughter the Duke has already seduced. SPARAFUCILE , a professional assassin, and his sister MADDALENA are the other principals in the unfolding tragedy.

THE STORY

ACT- ONE: The curtain rises on a festive scene at court as the Duke of Mantua discusses a young girl of the town whom he , disguised as a poor student, has been wooing for several months. He is distracted by the Countess Ceprano, dances with her and takes her off to a private room as his jester, Rigoletto, mocks her furious but helpless husband When Rlgoletto has gone, a courtier enters with a new bit of gossip : the hunchbacked jester is reportedly living with a beautiful young mistress!

Rigoletto returns with the Duke and uses the protection of his master's favor to increase his attacks on Count Ceprano, who joins with other courtiers to plot a vendetta against the Jester. Suddenly Count Monterone forces his way into court to denounce the Duke for seducing his daughter. Rigoletto taunts the old man mercilessly and Monterone, as he is arrested, pronounces a curse on both the Duke and the Jester. The Duke laughs it off, but Rlgoletto Is terrified

ACT TWO: Rigoletto's supposed mistress Is actually his daughter, Gilda, and he is hurrying from court to the house he shares with her, still brooding on Monterone's curse. On his way he encounters Sparafucile, a professional assassin, who offers his services against Rigoletto's enemies. The jester dismisses him, however, reflecting that his own tongue is as sharp as the assassin's blade.

Gilda greets her father in their garden and asks about her mother. Rigoletto laments his wife's untimely death and explains that Gilda is now everything in his life Fearful for his daughter's innocence, he warns her nurse to admit no

WARNING

The use of recording equipment or cameras (with or without flash attachment) during performance is strictly prohibited by law.

Violations may result in suspended performance and will be prosecuted.

one to the house, then goes out. At once the Duke slips into the garden , bribes the nurse and declares his love to Gilda, who has admired him at church. He tell her that he is "Gaultier Malde," a poor student, and leaves before being discovered as the enraptured Gilda lovingly repeats his name.

Meanwhile Rigoletto is stopped in the street by the scheming courtiers ; they ask for his help in abducting Count Ceprano's. wife and carrying her to the Duke. Agreeing to help, Rigoletto allows himself to be blindfolded; he is then tricked into holding the ladder against his own house while the laughing courtiers enter and abduct Gilda, whom they suppose to be the jester's mistress. Realizing he has been tricked , Rigoletto tears off the blindfold , finds his daughter's scarf, remembers Monterone's curse, and collapses

ACT THREE: The Duke has learned of Gilda's abduction and is fearful for her safety. When his courtiers report that It was they who carried off the girl, and that she is now in the Duke's chamber, he rushes off to his new conquest.

Rigoletto comes in, searching for Gilda. The courtiers, although surprised to learn that she is his daughter, continue to bar his way despite his threats and ple as for mercy. Just then Gilda appears , dishevelled, and runs to her father, who orders the others to leave Alone with Rigoletto, Gilda tells of the Duke's courtship and of her abduction. As Monterone is led to the dungeon, Rlgoletto swears vengeance for his daughter's defilement as Gilda begs her father to forgive the Duke.

ACT FOUR: Late at night , outside a lonely inn, Gilda is still trying to persuade her father that the Duke truly loves her. She is shocked when the Duke, laughing at the fickleness of women, arrives for an assignation with Maddalena, Sparafuclle's sister. In the famous Quartet Maddalena and the Duke conduct a teasing seduction while the eavesdropping Gilda voices her despair and Rigoletto swears revenge.

Rigoletto sends Gilda off to disguise herself as a boy and flee to Verona. He then hires Sparafucile to kill the Duke, arranging to return at midnight to claim the body.

A storm gathers and breaks as Gilda returns disguised as a boy and overhears Maddalena asking her brother to spare the Duke's life. Finally Spat'afucile agrees to kill instead the next person who enters the inn and to substitute the body for the Duke's. Still in love despite her betrayal, Gilda decides to sacrifice herself to save her beloved. She enters the inn and is stabbed

The storm has ebbed as Rigoletto returns to gloat over the body, which Sparafucile presents to him in a sack. Suddenly he hears the Duke's voice, singing in the distance. Frantically opening the sack, he finds his daughter, who dies begging his forgiveness as Rigoletto cries out "Ah, the curse!"

THE COMPANY

Mr Waters' future commitments include Macbeth for Connecticut Opera and Don Pasquale for Utah Opera

Rhoda Levine W. Anthony Waters

RHODA LEVINE, director of Rigoletto, has won acclaim as both director and choreographer In theatres and opera houses on two continents MOT audiences have enJoyed her d istinctive approach twice before, In productions of Mozart 's Magic Flute and the dual bill of Emperor Jones and Pagllaccl

Miss Levine came to International attention with the world premiere production of The Emperor of Atlantis for the Netherlands Opera - a company with which she has frequently been associated, most recently In last season's new production of Macbeth She has also directed often for the San Francisco Opera, Including Tancredi, Saultrl, L'Amlco Fritz and last season's Good Soldier Schwelk, which she also choreographed This summer she created a new production of Salome for Teresa Stratas at the National Opera of Greece In Athens, and her 1980-81 schedule Includes a revival of her 1977 Lulu and a new Don QUichotte, both for Netherlands Opera.

As a choreographer Miss Levine has worked with the Spoleto Festival, the Metropolitan Opera National Company and City Center Opera, among others. Her Broadway choreography credits Include Pantaglelze, War and Peace, The Grass Harp and The Sign In Sidney Brusteln 's Window. Television credits Include NBC Opera, NET Opera , DuPont Show of the Month , Story Theatre , National Theatre of the Deaf and a CBS special entitled The Gershwin Years

W. ANTHONY WATERS Is making his second appearance with MOT as conductor for Rigoletto; he conducted last season's highly acclaimed II Trouatore. He has worked with major opera companies throughout the country, and served as musical assistant to Kurt Herbert Adler at the San Francisco Opera.

Since last season's II Trouatore , Mr Waters has conducted a Madame Butterfly with Utah Opera , Abduction from the SeragliO with Opera South, La Trauiata for Opera/Omaha, Merry Widow (with Anna Moffo) for the Connecticut Opera and an acclaimed revival of Lost in the Stars for the Western/Spring Opera of San Francisco He spent the summer as musical director for the Merola Opera Training Program of the San Francisco Opera.

GWENDOLYN BRADLEY, singing Gilda In the English-language performances of Rlgoletto , made her profeSSional operatic debut with the Lake George Opera Festival In 1976, when her roles were Nanetta In Falstaff, Clara In Porgy and Bess and Pousette In Manon Since then she has sung Titania In A Midsummer Night's Dream with the Central City Opera, the title role of Lakme with Opera/South and, in her debut with the Opera Company of Philadelphia, Aurelia In Rumplestlitskln

Miss Bradley Is also active both as a recitalist and as an orchestral soloist. Her New York recital debut in June , 1978 , was a tremendous success, prompting The New York Times to call her "a real winner a soprano to be on the lookout for In the future ." She has been solOist with the Philadelphia Orchestra, Kansas City Philharmonic , Charleston Symphony and Pittsburgh Youth Symphony, among others

The young soprano has won a number of Important prizes, Including the 1977 Metropolitan Opera National Auditions (finalist) , the National SOCiety of Arts and Leiters Competition (first place), and the New Jersey State Opera Competition (first place) She has been the reCipient of a National Opera Institute Grant , Philadelphia Foundation Grant and Sullivan Musical Foundation Grant.

HOLLY A. CAIRNS (Glovanna In English performances) is a graduate of Pennsylvania's Indiana University currently on a graduate assistantship to Bowling Green University In Ohio, where she has sung In productions of Cendrlllon , Noye's Flood and Messiah Stock and university music theatre credits include HMS Pinafore, Man of La Mancha, Stop the World, Guys and Dolls, The Amourous Flea and No, No , Nanette RICCARDO CALLEO, singing the Duke In the Italian-language Rlgoletto, made his debut with Michigan Opera Theatre In the 1979 production of La Boheme In Kalamazoo A native of Endicott, N Y ., and graduate of Yale , the tenor has studied voice at the Conservatorlo G. Verdi In Milan, the Curtis Institute of Music and the Music Academy of the West. He made his opera debut while In Stuttgart on a Fulbright grant ; he was then engaged as first tenor In Bonn, during which time he appeared extenSively throughout Germany, France, Switzerland and Belgium.

Recent United States appearances Include a Rigoletto with the Cincinnati Opera, Don Jose in Carmen with the New York City Opera In both New York and Los Angeles, and Edgardo In Lucia dl Lammermoor for the Washington Opera earlier this year. Mr Calleo d ivides his time In Europe among the opera houses of Innsbruck, L1nz , Strasbourg and Base l.

MATTEO DE MONTI, singing Sparafuclle in both Italian and English-language performances of Rigoletto , made his Michigan Opera Theatre debut in the 1977-78 season as Zuniga in Bizet's Carmen He has performed most extensively in England, where he studied voice with Audrey Langford and Andrew Field

De Monti 's opera background includes roles in a number of unusual and distinctive works, such as Walton 's The Bear, Rossini's La Gazzetta and the world premiere of La Calisto by Cavalli. He sang Seneca in the The Coronation of Poppe a at the Woburn Festival In England, and appeared for two seasons as an apprentice artist at the Santa Fe Opera He has also sung oratorio throughout Europe

American tenor TONIO DI PAOLO makes his MOT debut this season as the Duke In the English-language performances of Rlgoletto Other highlights of his 1980 schedule have included a Houston Grand Opera debut In Die Fledermaus , Lucia dl Lammermoor and Tristan und Isolde for Washington Opera, Gurrelleder for Serglu Comlsslona and the Baltimore Symphony, and a Carnegie Hall debut In Bizet's Te Deum and Mozart's Coronation Mass with the New York City Choral Society conducted by Robert de Cormier.

As a member of the American Opera Center of the Jullliard School of Music at Lincoln Center, 01 Paolo made his New York debut In the title role of Chabrler's Le Rol Malgre Lui; other roles with AOC Included Steva In Jenufa His many appearances with the San Francisco Opera Include the live national telecast of La G/oconda; and his performance In the Manhattan Theatre Club premiere of Conrad Susa's Transformations caused New Yorker critic Andrew Porter to write that "If I were a composer I should want to write music for him to sing ."

ALEXANDRA HUGHES - Maddalena In Rlgoletto received her Masters In Opera degree from the Jullliard School, where her roles Included Hermia In Midsummer Night's Dream and La Natura In Cavalli's La Calisto A winner of the Connecticut Opera Guild annual competition, she recently sang Marcellina In Le Nozze di Figaro for the New York Opera Ensemb!e, as well as working wlih the Bel Canto Opera and The American Opera Center.

This summer Alexandra fulfilled her first apprenticeship with the Santa Fe Opera Company , where she sang Annina In La Traviata.

CHARLES LONG, who sings the title role in italian -language performances of Rigoletto, will be remembered by MOT audiences as Tonlo In our 1979 Pagliaccl He comes to Detroit this season directly from New York City Opera, where he has been appearing as Figaro in Barber of Seville.

A native of Pittsburgh, Long made his New York City Opera debut as Alflo In Cavallerla Rustlcana and has since added Tonlo, Escamillo In Carmen, Rance in Fanciulla del West , Marcello In La Boheme, Count Almavlva In Marriage of Figaro and Ford In Falstaff to his repertOire there, as well as with other major companies throughout the world He has been acclaimed at the Charleston Spoleto Festival In the title roles of two unusual works, Clmmarosa's 11 Marlto Desperato and Donlzettl's 11 Furioso dell Isola dl Santa Domingo

The handsome baritone's future schedule Includes Lescaut In Manon Lescaut in Seattle, John Proctor In The Crucible with Kentucky Opera, Achllla In New York City Opera's revival of Glulio Cesare and his Opera Company of Philadelphia debut In the title role of Eugene Onegln

CAROL MADAUN (Glovanna In the Italian Rigoletto Cast) is in her second season as a MOT Artist Intern A graduate of the University of Michigan's School of Music , her roles here last season Included Inez in 11 Trouatore with Martina Arroyo and Hansel In our touring production of Hansel and Gretel. This summer at Midland she was featured in Menotti's The Old Maid and the Thief. Carol has received the Henry E. Wenger Award In the Detroit Grand Opera Association auditions

LEIGH MUNRO, who Is singing Gilda In our Italian-language performances of Rlgoletto, made an Indelible Impact on Michigan Opera Theatre patrons In Bizet's The Pearl Fishers two seasons ago. She comes to us this season directly from her New York City Opera debut as Kathy In The Student Prince.

It was as Gilda that Miss Munro first appeared with Sarah Caldwell's Boston Opera, later adding Susanna In Marriage of Figaro She received standing ovations and world-wide press attention in 1978 as a last-minute replacement for Anna Moffo in ' Boston Opera's production of Verdi's StifleI/o Since then she has been seen as Magda In La Rondlne with the San Francisco Spring Opera, The Bohemian Girl In Central City and Lucia dl Lammermoor In LOUisville, plus concert appearances in Atlanta , Milwaukee and the Hollywood Bowl.

Following her MOT performances, the soprano's busy season will include Norlna in Don Pasquale In Baltimore, Gretel and Adele in Die Fledermaus for Boston Opera and Zerlina In the New York City Opera's Don Giovanni this February

PAUL SCHMIDT , Monterone in Rigoletto, currently lives in Pittsburgh, and has sung with the Pittsburgh Opera , Pittsburgh Chamber Opera and the Pennsylvania Opera Festival , among others As an apprentice at the Lake George Opera Festival this summer, he portrayed Von Mark in The Student Prince and also achieved second place In the David Lloyd

Awards competition. Schmidt holds degrees in music and opera from William Jewell College in Uberty , Missouri, and Memphis State University An MOT Artist Intern this season, he was the Commendatore in Don Giovanni.

RODNEY STENBORG, a native-born Detroiter who now lives in Houston , is singing the title role in Rigoletto for the first time in his career in MOT's EngUsh-language performances this Fall. Technically he is also making his Michigan Opera Theatre debut, although he was very involved in the performances of Overture to Opera out of which MOT evolved.

Last season saw Mr. Stenborg with the Houston Grand Opera, performing a widely acclaimed [ago In Otello as well as Sharpless in Madame Butterfly , Kothner in an English version of Meistersinger and Oscar Hubbard in Blitzstein 's Regina. He also spent part of last season in Memphis as Ezio in Verdi 's Attila, with Met basso Jerome Hines (who will be in concert with MOT this season) in the title role.

Rodney Stenborg was engaged for several years with the Staedtlschen Buehnen of Osnabrueck and Oberhausen, Germany; he also made many guest appearances throughout Holland Locally, he has sung with both the Pontiac Symphony and the Detroit Symphony Orchestra.

CURT OSTERMANN, lighting designer for Rigoletto , has designed the lighting for productions at the New York Shakespeare Festival, Manhattan Theatre Club, Hudson GUild, Circle Repertory, Missouri Repertory Theatre, Wolftrap and the Hartford Stage Company. He designed lighting for the New York premiere of the Richard Owen opera Mary Dyer, and for Manhattan School of Mus ic productions of Hlndemith's News of the Day and Rota's The Italian Straw Hat.

Mr. Ostermann was assistant lighting designer for the Broadway productions of I Ought to be In Pictures , Children,of a Lesser God, Clothes for a Summer Hotel , Romantic Comedy, Tribute and Cold Storage. A graduate of the University of Michigan and NYU, he teaches at the Parsons School of Design and was the recipient of the J.S. Seidman Award

Production Credits Lynch's

MOT Orchestra

FIRST VIOLIN

Charlotte Merkerson,

Concertmaster

Patricia Karakas

Mary Catherine Edwards

Calhy Spratt

Paula Kibildis

Francis Peterson

SECOND VIOLIN

Pvruz Zerounlan Principal

Wilma Turco

PhylliS Fleming

Una Carcone

VIOLA

Ara Zerounian, Principal

Gary Syroid

Margaret Lang

Meyer Shapiro

CELLO

Laura Deming, Principal

Minka Christoff

Debra Mulder

Pamela Bush

DOUBLE BASS

Wendy Hohmeyer. Principal

Marion Wengert

FLUTE

Dayna Hartwick

PICCOLO

Dayna Hartwick

OBOE

Paul Amorello. Principal

Jane Greene

ENGLISH HORN

Jane Green

CLARINET

Joel Wanen, PrinCipal

CarolOber

BASSOON

Pamela Dion, PrinCipal

Victoria King

HORN

John Olon , Principal

Karen Nixon

TRUMPET

James Underwood. PrinCipal

Gordon Simmons

TROMBONE

Maury Okun Prlncipol

Gregory Near

TIMPANI

Donald liuzzi

PERCUSSION

Leslie David

Delroit Federation 0/ Musicions, Local '5 A.F OF M

Production Staff

Dwight Bowe s, Director 0/ Productions

Mark D Flint , Director, Artist's Intern Program

Marilyn Rennagel, LIghting Consultant

Robert Murphy. Technical Director

Deborah Myers. Admlnlstratlue Assistant

Tony Davis, Executiue Stage Manager

Bonni e Whalen, Cost ume Superulsor

Peggy Imbrie S tage Manager

Marc Cervania, Stage Manager

Abe Maius , Stage Production Carpenter

Dave Sugar, Master Ffyman

Tom Bryant, Mo ster Ele ctrician

Robert Mesinar, Assistant Electrlclon

Jack Brock, Property Moster

Sandra Cottone. Assistant Technical Director

Betsy Adams, Resident Assistant lighting Designer

Steven Horak , Make -up Superulsor

Julie Stork, Wardrobe Mistre ss

Bill Raybun. Jr. Make -up Artist

Patrice Winslow Make-up Artist

Stephanie Savin. Mouement Instructo r

Diane Jamison, Seamstress

Stage Employees Local "38 IATSE

Music Staff

Mark D. Flint, MusiC Director

Robert Myers, Chorus Master

George Darden, Principal Coach I Accompanist

John Dion, Orchestra Personnel Manager

Mark Gibson, Music Intern

Production Interns

Sharon Dick. Stage Management

Elizabeth Eckert, Music Administration

Gilbert Hutchins. Technical

Jim McMann, Techn ical

Stephanie Savin Directing

Thursday, October 31, 6 pm to midnight!

Buttons on sale for $ 5 at Guild Stand and Music Hall box office.

NEXT SEASON ...

MICHIGAN OPERA THEATRE is in the midst of exciting plans for 1981-82. We can't give you the details just yet, but we can promise you MORE - More of everything you've come to expect from MOT: MUSIC, SPECTACLE, VARIETY, GREAT YOUNG VOICES and IRRESISTIBLE SUBSCRIPTION OFFERS!

If you are currently a subscriber, you will be among the first to know when plans are finalized within the next few weeks. If you are not currently subscribing, you can guarantee early notification by filling out the form below and leaving it with the Guild sales desk in the .lobby .

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·DON'T FORGET!

The Concert Event of the Season!

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