Season 40 Program - Des Moines Metro Opera

Transcription

Anniversary Season
FAULCONER GALLERY
DON GIOVANNI Mozart
LA RONDINE Puccini
EUGENE ONEGIN Tchaikovsky
Edward Burtynsky. Shipbreaking #4, Chittagong, Bangladesh, 2000. Chromogenic color print, 48 x 60 inches. © Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto
JUNE 15—AUGUST 19, 2012
PORTFOLIO Artists Work in Series
2-6
7
14-18
19
24-31
32-39
40-47
48-49
50-53
54
55
56-57
66-71
72-75
76-78
79
80
81
82-83
85-93
94-95
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Welcome
Board of Directors
40th Anniversary Season
Music Director and Principal Conductor
Don Giovanni
La Rondine
Eugene Onegin
Director Profiles
Company Profiles
Ballet Des Moines Profiles
Festival Staff
Orchestra
Apprentice Artist Program
OPERA Iowa
Guild
Robert L. Larsen Legacy Endowment
2011 Productions Pictorial
In Tribute: Dr. Lawrence Ely and Donald Easter
Foundation
Donors
Production History
Advertisers’ Index
FEATURING PORTFOLIOS BY EDWARD BURTYNSKY | TACITA DEAN | ANNA GASKELL
GLENN LIGON | CATHERINE OPIE | SHAHZIA SIKANDER | KIKI SMITH | KARA WALKER
Summer hours begin June 15: Daily 11 am-5 pm; closed Mondays. Free and open to the public.
For more information visit grinnell.edu/faulconergallery
GRINNELL COLLEGE
Des Moines Metro Opera’s mission: TO PRODUCE opera as a living art
form through performance and composition, TO OFFER a stage for
American-trained principal artists, TO PROVIDE a high-caliber apprentice
artist experience that provides extraordinary opportunities for young
emerging artists to perform and to participate, and TO DEVELOP
regional audiences of all ages through educational outreach programs.
Des Moines Metro Opera
Welcome to the 40th Anniversary Season of the
Des Moines Metro Opera—the Ruby Season!
The repertory for this celebration is incredible.
Puccini’s La Rondine was the cornerstone of
our first season and returns in a new production
this summer. In 1973 national press compared
the launch of the fledgling opera company to
the ascent of the “swallow” of the opera’s title,
and so this rarely-performed jewel has special
significance for us. Mozart’s Don Giovanni,
one of the world’s greatest masterpieces, has
only appeared in our repertory for celebratory
occasions—our 10th and 25th seasons—and
now it returns with a thrilling new production
for the 40th. Beginning this season we have
committed to presenting one opera that is
new to our company each year. We begin this
initiative with Tchaikovsky’s Eugene Onegin—
our first production sung in Russian and an
initial collaboration with Ballet Des Moines.
Our mission calls us to provide a much-needed
stage for American-trained artists. Our efforts
to identify rapidly-rising professional talent has
caught the interest of the national press this
year. I’m pleased to showcase the debuts of
singers Joyce El-Khoury, John Viscardi, Marjorie
Owens, Matthew Plenk, Cody Austin, director
Tim Ocel, set designer Andrew Boyce and
esteemed artist Jane Shaulis on our mainstage.
They join an incredible roster of returning artists
and creative teams that is perhaps as stunning
a collection of talent as we’ve ever assembled.
Since late May our festival site has been humming
with the creative energy of an extraordinary
community of artists and craftspeople and it’s
been my personal pleasure to bring these operas
from our earliest discussions over a year ago all
the way to the live performance you will see now.
These years of transition have brought us to the
intersection of the 40th anniversary and offer
a chance to pause to celebrate the past before
charging into the future. The additions of Karol
Nickell as Executive Director and David Neely as
Music Director and Principal Conductor to the
company have brought fresh energy and new
ideas to us. It’s been my pleasure to work with
them both as we celebrate this season and plan
for the future. We are well positioned to create
the next chapter of the company’s history.
The first order of business is an aggressive 41st
season including the return of Gounod’s glorious
setting of Shakespeare’s Romeo et Juliette, not
seen at Des Moines Metro Opera in over 30 years.
2013 marks the 100th birthday of composer
Benjamin Britten and we will join the worldwide
celebration by offering a new production of
Peter Grimes starring Anthony Dean Griffey
(from the recent Metropolitan Opera Live in HD
production), Brenda Harris and Todd Thomas.
We’ll finish the season with a company and Iowa
premiere, Richard Strauss’s monumental drama
Elektra, giving us the opportunity to feature an
extraordinary singer in a pinnacle role for the
soprano repertory. Efforts to grow the presence
of our company in the Des Moines area through
additional offerings and venues will prove to be
equally exciting.
The dream of professional opera in Iowa has been
planted and nurtured by tremendous good will.
One of our early reviews by an esteemed critic
in Opera News has remained a special beacon
throughout the years: “This is what the cultured
generation envisioned could be possible for
regional America nearly 100 years ago. Finally it is
happening now in Iowa and Des Moines Metro
Opera sets the model.” After 125 mainstage
productions, and eight world premiere
performances, I invite you to journey with us
as we “set the model” again for the next forty
years as Iowa’s premier destination for stunning
vocalism and professional theatre.
Michael Egel
Artistic Director
Forty-First
Festival
Season
Our Welcome to you!
Photo by Paige Peterson
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Romeo and Juliet Gounod
Peter Grimes Britten
Elektra Strauss
Pre-order your 41st Season
subscriptions now at the
box office in the lobby.
Our thanks to you!
By choosing to attend one or more of the
extraordinary operas of our 40th Anniversary
Season, you are supporting Iowa’s premiere
performing arts company and one of its most
intriguing success stories. Des Moines Metro
Opera began with a vision shared by two men,
Robert L. Larsen and the late Doug Duncan,
who convinced a friend and colleague, Doris
Salsbury, and her husband, John, to donate
$5,000 to start an opera company in 1973.
Now, 125 productions later, Iowa-grown opera
is a breed of its own, combining fine art with a
strong sense of community. Your attendance
today helps ensure that central Iowa will
continue to be home to a true gem of an opera
company. By choosing to be with us, you’re
saying that top-caliber opera is essential to our
community, to our region, and to our state.
One of many things that I’ve learned in my first
year as executive director of Des Moines Metro
Opera is the importance of clear, consistent, and
tireless communication about our company.
My thanks to staff members, board directors,
patrons, partners, and friends who have helped
spread the word: Des Moines Metro Opera is
an independent, non-profit, professional opera
company dedicated to bringing world-class
opera productions and vital performing arts
education to central Iowa. We are a summer
festival, bringing in artists and professionals
from all over the country and beyond to create
and to perform. Our educational programs
provide quality music and performing arts
classes and performances to more than 80
schools and communities every year.
What we do is rare. It is also expensive. We
have an annual operating budget of just over
$2 million; nearly 60% of that is dedicated to
the production of our three mainstage season
operas. As a point of reference, the six operas
produced in 2011 and 2012 cost between
$404,000 and $515,000 each. Ticket sales
provide less than 25% of our annual income, so
contributions from individual, businesses and
foundations are absolutely necessary to our
financial health and sustainability.
5
acknowledges leading
season sponsors
Thank you for supporting Des Moines Metro
Opera by attending today’s performance.
Whether you’re here for the first or the 40th
time, your presence and participation is
appreciated and valued.
The Bright Foundation
Frank R. Brownell III
Photo by Paige Peterson
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Just as attending opera is a personal choice,
giving to an opera company is a personal
decision. Prior to the performance today, you
were handed a contribution envelope and the
announcement of next season’s operas with
your complimentary program. We hope that
you’ll put both to good use and that we’ve made
it easier for you to renew your subscription and
to make an annual contribution.
On a personal note, I am delighted to have joined
such a friendly, passionate, and fun family of
opera lovers. From my first conversations with
Board President Bruce Hughes and Artistic
Director Michael Egel to later ones with Foundation
Board President Wendy Waugaman to recent
ones with patrons, conductors, directors, singers
and technicians, I have felt welcomed and
appreciated. It is my first year with Des Moines
Metro Opera, but I’m going to celebrate as if it
were my “ruby” year with the company. I hope
you will do the same!
Mrs. Lois Bright and Mr. Frank R. Brownell
have both been long term, generous donors
to Des Moines Metro Opera.
Mrs. Bright’s personal passion is to
The Des Moines Metro Opera staff on the front steps of the
company offices at 106 West Boston Avenue in Indianola.
Front row, left to right: Karol Nickell and Michael Egel.
Second row: Leslie Garman, Elaine Raleigh. Third row:
Mark Dorr, Nick Renkoski, Kim Udrovich. Back row: Chris
Brusberg, Chari Kruse, Dennis Hendrickson. Photo by
Paige Peterson
Des moines Metro Opera
Administrative Staff
the opportunity to enjoy music and
learn about opera. Her support
through The Bright Foundation
of Des Moines Metro Opera’s
OPERA Iowa Educational Touring Troupe
is most appreciated.
Artistic Director Executive Director
Michael EgelKarol Nickell
Director of Finance
Elaine Raleigh
Director of Development
Leslie L. Garman
Mr. Brownell is an opera aficionado
who enjoys Des Moines Metro Opera’s
world class mainstage productions,
Director of Marketing and Communications
Nick Renkoski
with Puccini’s La Rondine being his
Box Office Manager/Development Associate
Dennis Hendrickson
personal favorite. He believes in the
Art Director
Kimberly Udrovich
Administrative Assistant
Chari Kruse
Karol Nickell
Executive Director
help ensure that Iowa’s children have
Production Manager
Christopher Brusberg
Orchestra Personnel Manager
Mark Dorr
Artistic Director Emeritus and Founder
Robert L. Larsen
training and nurturing of emerging artists.
We are grateful for his support of our
Apprentice Artist Program and for his
sponsorship of this season’s production
of La Rondine.
6
Board of Directors
From the President
Welcome to the 40th Anniversary Season of Des
Moines Metro Opera! In this special year, we
bring you three rich and diverse operas, cast by
Michael Egel, who is now in his third season as
Artistic Director. Through a meticulous process,
Michael chooses with great care and exactness
the performers for each individual role, and the
results this year are truly exciting. The enthusiasm
is palpable.
Like the fantastic performance you’re about to
experience, the impact of Des Moines Metro
Opera is worth celebrating. Des Moines Metro
Opera positively impacts the quality of our arts
and culture, bringing 200 or more professional
singers, conductors, directors, musicians and
technicians from all over the country to our
region annually. It impacts the diversity of our
arts and culture, producing and performing
three different full-scale operas concurrently
each season. Des Moines Metro Opera has a major
impact on arts and culture education in Iowa and
beyond. Through the company’s OPERA Iowa
Educational Touring Troupe, music and performing
arts education is provided to elementary school
kids and to their communities. The company’s
Apprentice Artist Program, now in its 38th year,
has graduates in all sectors of the opera world.
We’re also celebrating the recent announcement
of a new role for a special member of our family.
We applaud Maestro David Neely in the newly
created position of Music Director and Principal
Conductor, effective September 2012. Currently
the Associate Professor of Conducting and
Director of Orchestral Activities at the University
of Kansas, David brings extensive international
professional experience to the podium. David’s
international career includes appearances with
orchestras and opera companies in the US and
abroad. He has held the title of Bruno Walter
Associate Conductor with Des Moines Metro
Opera and served for five years as Co-Director
of our Apprentice Artist Program.
This year we welcomed a new member to Des
Moines Metro Opera, Karol Nickell, as our Executive
Director. Karol brings a wealth of experience from
her leadership roles at Meredith Corporation and
at Readers’ Digest Association and as Treasurer
and board director for United Way of America.
For nearly a year Karol has been a stalwart leader
in her role with our company working passionately
on development both in terms of corporate
support and individual contributions.
Robert L. Larsen, Founder and Artistic Director
Emeritus, remains active and engaged in Des
Moines Metro Opera providing his sagacious
advice to company neophytes and veterans
Officers
Directors
President
Dr. Bruce Hughes
Pat Brown
Terri L. Combs
Stephanie DeVolder
Andrew T. Dorr
Bryan Hall
Heath Hinkhouse
Kevin Jones
Patrick Kelly
Susie Kimelman
Linda Koehn
Michael LaValle
Holly Logan
Elvin McDonald
Melanie Porter
Betty Ridout
Daniel Shipton
Leo Skeffington
Judy Watson
Wendy Waugaman
Bernie and Linda White
President Elect
E.C. Muelhaupt, III
Vice-President of Development
Bryan Boesen
Secretary
Adrienne McFarland
Treasurer
Barbara Cappaert
At-Large
Patricia Barbalato
At-Large
Diane Morain
Honorary Directors
alike. His depth of knowledge and intense
passion for this company are invaluable.
Most of all I thank you for your individual and
corporate financial support, the kind of support
that is absolutely essential. Without your support
at all levels, there would be no Des Moines Metro
Opera. As you know the great artistry you experience
here today is the result of the collaborative efforts
of a large number of individuals. Engaging the
finest singers, musicians and production staff to
stage these world-class operas is a valuable (and
expensive) proposition.
What you may not know is that ticket sales cover
less than 25% of the cost of a production;
consequently, Des Moines Metro Opera relies
greatly on donations from our patrons, as
the economic slump has cut our bottom line
considerably. Therefore, this season more than
ever is the time to consider donating or increasing
your donation to keep this cultural gem of Iowa
thriving now and into the future. Please give as
generously as possible.
It is time to enjoy the show. Prepare yourself for
a spectacular evening of intrigue, artistry and
breathtaking beauty. Enjoy!
Dr. Bruce L. Hughes, President
DMMO Board of Directors
Mary Beh
Frank R. Brownell, III
James Collier
Barbara Gartner
Jo Ghrist
Sara Hill
Shirlie Katzenberger
Mary Seidler
Marilyn Vernon
Doyle Woods
Past Board Presidents
Dr. Lawrence Ely
Don Easter
David Wright
Gary Gerlach
Sara Hill
Charles C. Edwards, Jr.
Marilyn Vernon
Barbara Gartner
Charlotte Hubbell
Annette Isaacson
Mary Seidler
Patty Cownie
Thomas Fisher
Cherie Shreck
Jim Erickson
Sheila Tipton
James F. O’Halloran
Nancy Main
Charles E. Farr
E. James Bennett
Mary Kelly
Kimberly Shadur
Tom McKlveen
Linda Koehn
Jeffrey Morgan
Wendy Carlson
William Niebur
7
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Overture
The first of the trio was the Overture event in
November 2011. The kick-off of the year and
a welcome for Executive Director Karol Nickell
mixed fine and performing arts. Moberg Gallery
in Des Moines, Iowa, was the perfect foil for a
retrospective display of the company’s posters
from the past 39 seasons. Guest from Ames, Des
Moines, Grinnell, Indianola, Newton, Pella and
elsewhere voted for their favorite poster with
ruby jewels while enjoying drinks and small bites.
Our Ruby
Season
The undisputed highlight of the night was a set
of performances introduced by Artistic Director
Michael Egel: Kim Roberts sang “Chi il bel sogno”
from Puccini’s La Rondine; Matthew Lau sang
“Madamina” or “The Catalogue Aria” from Mozart’s
Don Giovanni; John Moore sang Onegin’s first
aria from Tchaikovsky’s Eugene Onegin and
“Largo al factotum” from Rossini’s The Barber of
Seville. All were accompanied on piano by Bernard
McDonald. The party after the party found Larsen
holding court at the Asian bistro next door.
celebrates 40!
Wine & Food Showcase
The second in this crescendo of events was the
Wine & Food Showcase, a major fundraiser for the
company held in February of this year. The now
long-running wine and food fair was the first of its
kind in central Iowa when Des Moines Metro Opera
introduced it in the 1980s. The event’s committee,
led by Board Director Bryan Hall and event planner
Tracy Fuller, delivered a stunning mix of foods both
sweet and savory and drinks from the vine and
field. More than 600 guests relished the opportunity
to sip, taste and enjoy a wonderful evening.
Helium-filled ruby balloons with the Des Moines
Metro Opera logo formed an archway to the
entrance. More than 50 vendors, restaurateurs,
vintners, chefs, distributors and distillers filled
the hall at the Downtown Marriott. A special
VIP flight of premium wines and foods featured
pours by Board President Dr. Bruce Hughes and
President-Elect E.C. Muelhaupt and appetizers
provided by Baru 66 and Alba restaurants.
When Robert L. Larsen, Artistic Director Emeritus
of Des Moines Metro Opera, was asked if he
thought the company he co-founded would
grow into the multi-faceted, far-reaching and
successful performing art and educational
organization that it is today, he smiled and simply
said, “No.” Whether or not his answer is more
humility than truth, the trajectory that is Des Moines
Metro Opera cannot be overstated in its rarity.
According to Opera America, the industry’s
largest service organization, less than half of
their 119 member, U.S.-based professional opera
companies have reached their 40th year. Within
their membership there are only 12 summer opera
festivals; Des Moines Metro Opera is the sixth
oldest. Los Angeles Opera, Long Beach Opera,
Florida Grand Opera, Atlanta Opera, Chicago
Opera Theater, Boston Lyric Opera, Opera Theater
of Saint Louis, Opera Company of Philadelphia,
and Glimmerglass Opera are all younger than
Des Moines Metro Opera. If the company were
transported to New Hampshire, Connecticut,
Indiana, Arizona, Maine, or Utah, it would be the
senior organization in that state. Seven states
have no professional opera company at all.
Thanks to the amazing talent, hard work and
tenacity of the company’s leaders, board,
foundation, patrons, donors, artists, partners and
staff, Des Moines Metro Opera continues on its
amazing journey. For the 40th time this season,
Iowa’s largest performing arts company raises
its iconic red curtain on a warm summer evening
or afternoon and magic happens.
The year leading up to this exhilarating moment
had a bit of magic, too. In particular, three special
events heralded the season, a crescendo of
building anticipation.
Additional fun was provided by a photo booth
created by Board Director Kevin Jones. Guests
picked props from the opera’s attic, posed for
the camera, and their photos were posted on
Facebook. Attendees also bid on more than 30
auction items ranging from a private dinner from
BRAVO to Ruby Ball tickets and attire from the
company, to a green-thumb garden package
from Board Director Elvin McDonald. The
highest winning bid of more than $500 won a
private wine tasting and four-course dinner from
Fleming’s Prime Steakhouse and Wine Bar. The
Wine & Food Showcase was called “the place
to be” in dsm magazine. This year’s event raised
more than $32,000 for Des Moines Metro Opera.
15
16
Overture
Wine & Food
Showcase
Ruby
Ball
Photos by Jen Golay
17
18
Ruby Ball
The third and largest of the company’s events
was the pinnacle celebration leading up to the
40th Anniversary Season, the Ruby Ball. Held
in April at the Scottish Rite Consistory in Des
Moines, the evening’s festivities promised to
bring together new and old friends of Des Moines
Metro Opera, toast the history of the company
while looking to its future, and create a memorable
tableau of elegant dresses and tuxes, gracious
surroundings, delectable food and libations,
dancing until midnight, and, of course, heavenly
singing. The Ruby Ball didn’t disappoint.
The evening began with a patron party honoring
Larsen and his many accomplishments in the
opera world. Guests enjoyed wine pours provided
by The Des Moines Wine Club and appetizers
specially created and prepared for the event
provided by Fleming’s Prime Steakhouse and
Wine Bar. A cocktail party followed with all the
evening’s guests arriving to join in the festivities.
A trumpet fanfare signaled that the main event
of the evening was about to start. Guests flowed
from the cocktail party to the lobby just outside
the banquet room. The doors to the dining space
remained closed. The crowd of 240 filled the
lobby and the staircases leading into it.
Later many Ruby Ball attendees would say that
peasant chorus was the best welcome they’ve ever
experienced at a fundraising event.
At 7:30 the doors were flung open and the
resounding power of 80 voices singing wafted
over the crowd and throughout the beautifully
decorated banquet hall. The Simpson College
Choir and Chamber Singers, under the direction
of Dr. Timothy A. McMillin, sang the peasant
chorus from Eugene Onegin with joy and vigor—
and in Russian! Later many Ruby Ball attendees
would say that this welcome was the best they’ve
ever experienced at a fundraising event.
Once seated, the guests were welcomed in
comments by Egel and Nickell; individuals and
groups who contributed to the company’s history,
excellence and financial health were recognized
and thanked. Larsen received a spontaneous
standing ovation. As guests began enjoying the
three-course meal and wine pairings, they were
entertained by wonderful performances. Todd
Thomas sang “Prologue” from I Pagliacci followed
by Jan Cornelius, Harold Meers, and the Simpson
College Choir singing “Libiamo” from La Traviata.
A live auction was held concurrent with dinner.
Community volunteer and columnist Wicker Van
Orsdel provided her talents as auctioneer. All
auction items were over-the-top and included a
week’s stay in a St. Regis Hotel penthouse, a VIP
NFL package, and a connoisseur’s collection of
wines. For the first time in company history, arias
were also included in the auction, sung tableside
by the performing artist for the winning bidder.
Egel introduced each aria and artist or artists.
Jan Cornelius sang “Chi il bel sogno” from
La Rondine and “Mi Chiamano Mimi” from La
Boheme. Todd Thomas sang “The Impossible
Dream” from Man of La Mancha, performing it
for the first time in his career as a special tribute
to Larsen. From Carmen, Elise Quagliata sang
“Habanera” and Harold Meers the Flower Aria.
Dana Pundt, Meers, Thomas and Quagliata
ended with the quartet from Rigoletto. The live
auction with arias was a huge success.
Next to come was a heartfelt and articulate
tribute by Egel to his mentor and predecessor,
Larsen. Equally engaging was Larsen’s turn at the
podium. His comment that “Michael knows
more about me than I do about myself,”
delighted the assembly, as did his recounting
of the beers he and co-founder Doug Duncan
shared with farmers in a small town tavern to
celebrate the $5,000 the two were given by
patron Doris Salsbury to start the company.
His special salute to soprano Carol Stuart who
graced Larsen’s table for the evening and many,
many of his opera performances brought the
crowd to their feet.
Larsen conducted the last performance of the
evening—the second act quartet and ensemble
from La Rondine performed by the Simpson
Choir and soloists. The guests’ admiration was
clear by the loud applause and cheers sent in
the maestro’s direction.
The last event of the evening was yet to come:
Des Moines Big Band took partygoers another
direction and soon the floor was filled with couples
dancing, laughing and moving to the music.
The Ruby Ball was a success on many levels: It
celebrated both the past, present and future,
raised nearly $56,000 for the company, and it
brought together both new and old friends of
Des Moines Metro Opera. n
19
Music Director and Principal Conductor
Des Moines Metro Opera is proud to announce
the appointment of David Neely as the company’s
first Music Director and Principal Conductor
effective September 2012. Neely is an internationally
known conductor and has been the Bruno Walter
Associate Conductor with Des Moines Metro Opera
since 2010. Opera News magazine described his
work with the company as “brilliant, brimming
with color and intensity.” In his new role as Music
Director and Principal Conductor, Neely will continue
to conduct two mainstage productions each
season—Mozart’s Don Giovanni and Tchaikovsky’s
Eugene Onegin for the 40th Anniversary Season—
while taking on additional responsibilities for the
Des Moines Metro Opera orchestra.
It will be Neely’s job to ensure the overall quality
of the Des Moines Metro Opera Orchestra and
to conduct special performances by Des Moines
Metro Opera. Neely will collaborate with Artistic
Director Michael Egel and Executive Director
Karol Nickell on the company’s season repertoire
and orchestral personnel.
“I am delighted that David has accepted the newly
created position of Music Director and Principal
Conductor with Des Moines Metro Opera,” says
Egel. “David’s breadth of experience in Europe and
in the United States brings valuable expertise to
our audiences and artists. His orchestral leadership
of four productions over the past two seasons
has received critical acclaim for its attention
to detail and consummate musicianship. We
look forward to collaborating with him as we
open our 40th Anniversary Season and lay the
groundwork for our 2013 season.”
Neely first joined Des Moines Metro Opera in 2003
as part of the Apprentice Artist staff. In 2005 he
began a five-year stint as the program’s co-director.
In addition to his engagements with the company,
Neely has conducted all over the world with
numerous orchestras and opera companies. In
Germany alone he has conducted more than
400 performances of works in a wide range of
styles. Neely’s baton has taken him to Saarbrücken,
Coburg, Bonn, St. Gallen, Bielefeld, Kaisersautern,
Halle, and Kuala Lumpur, Malaysia. His repertoire
of more than 60 stage works includes: Otello,
Carmen, Die Fledermaus, La Rondine The Crucible,
The Tales of Hoffmann, Werther, and The Barber
of Seville. Neely has also conducted symphonies,
ballets and musicals.
Maestro Neely directing the Des Moines Metro Opera
orchestra at the Blank Performing Arts Center.
Photo by Jen Golay
“I am thrilled to accept this position with Des Moines
Metro Opera, an organization with which I have
had a close relationship for a number of years and have long admired for its capable leadership,
commitment to artistic values, overall style, and
for the significant role it plays in the arts in the
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Michael and Karol toward the continued success
of the company. On a side note, my father’s
family is from Corydon, Iowa, so it is all the
more meaningful to be able to call Des Moines
Metro Opera my home in the opera world.” David Neely is currently Associate Professor of
Conducting and Director of Orchestral Activities
at the University of Kansas.
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24
Don
Giovanni
Body copy Museo Sans 300 9pt.Minismod
olenisis auguero conseni scillan henim nit, qui
te dolorper sis acip eriuscip eu faccumsan vel in
utationsecte esto dolor siscinisit iril dolorpero
esectem eugiamet ex etuero er irit adignis
am, sit ad exero cor ad modo con eugue etue
feu feu feu feugue ero corperi llaore tet enibh
ea augue minit, sim volor inci tionsequatum
vercidunt at nit lore mod molestrud dolut wisit
acipit nulputat. Lore conse tin veniam nibh eril
incilit wis delessi blam iliscil laorperit lore te
dignit, si.
Consendit nit, quat, quis ad tisim autpatem
iliscin estis nonsequat at, cor aliquat niamet lum
in ea facin vel iure tem nullan velit, quisl iureet
lum euisl duis ex eros nibh ero od et, volesto
dolesto odolore faccum ip etumsan velit lor sed
et am, si.
Onse exer sent eu feu faccum zzriuscil utem illa
facipisi.
Wolfgang Amadeus Mozart
La feu faccum duisl ulluptat. Ure molorem
acipsustie consequ amconse ndigna feumsan
veleseq uatisit prate facidui bla corerat.
Henim vullamc ortiscilla feugiam quatuer sim
ad erostrud del del er ipit, vel do erci elit augue
modipit alis non exeraese faci tio doloborper
ilit luptat. To od dolorti onsequis nullum
iustrud ming endre tatuercil in el utpat adigna
feugait prat lut lor adipit nonsequam, quat
utpat. Ustis eugue commy nis ad dolesequatue
eros adipissed tionull andignis aute magna
feum atetum vullamcommod eum quisim
zzriusci et lutat iure commy nulput am iniam
veliqua tionseq uismodit, quipsuscilla aliqui
blamconsecte vel delendiam in utat.
Modipisi. Ilit adigna faciduis aut wisi.
“The passions, whether violent or not, should never be so
expressed as to reach the point of causing disgust; and music,
even in situations of greatest horror, should never be painful
to the ear, but should flatter or charm it.” Mozart
Ostrud dionum num velit duisim dolobore dip
eum elenim acil exer alit ver irit volorperosto
euisit augue molumsandrem quat, sumsandit
ute velisit dolutpate faccummy nonse dolorer
alis acidunt la alit loreet, commodo lobore vel
er alisi.
dignit, si.
Consendit nit, quat, quis ad tisim autpatem
iliscin estis nonsequat at, cor aliquat niamet lum
in ea facin vel iure tem nullan velit, quisl iureet
lum euisl duis ex eros nibh ero od et, volesto
dolesto odolore faccum ip etumsan velit lor sed
et am, si.
Onse exer sent eu feu faccum zzriuscil utem illa
facipisi.
La feu faccum duisl ulluptat. Ure molorem
acipsustie consequ amconse ndigna feumsan
veleseq uatisit prate facidui bla corerat.
dignit, si.
Acing exeraesto dunt lobore vent iurercing
ercinci eumsan henis at essequi exer sed
magniametuer iure dunt aut lummy nis nim non
ute dolobor si.
Lesequation vel ut verit veliquam vercip ex
eugiam, quat ad magna faciduisl ea feuisim
ipit lum quisl ero commodit nulput num ip ent
nonsectem dolore dolobortio odiat, quip enibh
etummy nit, ver sit lortio od tem ad magna
faccum iure vel incinis moleniatet wisl dolumsa
ndignisit, quat am, se dolessi.
Delis acil illa feu feum nit ad tet init at lutpat
do dolore etum dolortie modolor peratummy
25
26
Don Giovanni
ossia Il dissoluto
punito; K. 527
(Don Giovanni, or The
Libertine Punished)
by Wolfgang Amadeus Mozart
A Dramma giocosa in two acts
Synopsis
SETTING: Spain, 17th Century
Act I
Leporello waits outside the Commendatore’s
palace for his master Don Giovanni, who is inside
trying to seduce Donna Anna. Giovanni rushes
out, pursued by Anna, who cries for help against the
unknown intruder. Her father, the Commendatore,
comes to her aid, but Giovanni kills him in a duel
and flees. Donna Anna demands that Don Ottavio,
her betrothed, swear vengeance on the intruder.
Libretto by Lorenzo da Ponte
First performance: Prague; National Theatre,
October 29, 1787
Performed in Italian with English supertitles
above the stage
Intermission between Act I and Act II
Production
Conductor
David Neely
Stage Director
Tim Ocel *
Associate Conductor
Michael Sakir
Assistant Stage Director
Andrew Ryker
Cast
Above:
Scene from the
Opera ‘Don
Giovanni’ by
Mozart, c.19th
century. AlexandreÉvariste Fragonard
(1780-1850).
(Musee Bargoin,
Clermont-Ferrand,
France / RogerViollet, Paris / The
Bridgeman Art
Library )
Anterior:
The Bolt, c.1778.
Jean-Honore
Fragonard ((17321806). (Louvre,
Paris, France /
Giraudon / The
Bridgeman Art
Library)
Leporello, servant to Don Giovanni
Rod Nelman
Donna Anna, betrothed to Don Ottavio
Marjorie Owens *
Don Giovanni, a licentious nobleman
Michael Mayes
The Commendatore, father of Donna Anna
Stefan Szkafarowsky
Don Ottavio, a nobleman
Matthew Plenk *
Donna Elvira, a lady from Burgos
Brenda Harris
Zerlina, a peasant girl
Zulimar López-Hernández
Masetto, a peasant
Edward Hanlon *
* Mainstage debut
Chorus Master
Lisa Hasson
Harpsicord Continuo
Elden Little
Cello Continuo
Andrew Dunn
Scenic Designer
Andrew Boyce *
Lighting Designer
Barry Steele
Costume Supervisor
Robin McGee
Make-Up/Hair Designer
Sarah Hatten for Elsen and Associates
Costumes
Howard Tsvi Kaplan
Choreographer
John de los Santos *
Stage Combat Director
Brian Robertson
Production Stage Manager
Liam Roche
Nearby, Leporello pleads with Giovanni to reform,
but he is already flirting with a traveler. She turns
out to be Donna Elvira, one of his past conquests
who has been pursuing him. Leporello distracts
Elvira by reciting the list of his master’s seductions
while Giovanni escapes. A group of peasants is
celebrating the wedding of Zerlina and Masetto.
Giovanni immediately takes an interest in Zerlina
and orders Leporello to take everyone into his
palace to continue the party. Elvira interrupts
his wooing and spirits Zerlina away, then warns
Anna and Ottavio not to trust Giovanni.
Alone with Ottavio, Anna relates the details of
her struggle and realizes that Giovanni was the
man who attacked her and murdered her father.
Zerlina begs Masetto to forgive her and they go
into Giovanni’s palace. Elvira, Anna and Ottavio
enter the palace in disguise, spying on Giovanni.
Leporello distracts Masetto as his master ushers
Zerlina into another room. When she cries out for
help, Giovanni names Leporello as her attacker.
Anna, Ottavio and Elvira reveal themselves and
denounce Giovanni, who again escapes.
27
Director’s Notes
by Tim Ocel
I have always equated Mozart and Shakespeare. Both
are geniuses of the human condition, applying the tragic
and comic sides of mankind to tell honest, yet sometimes
fantastical tales of the human condition. Mozart’s
Giovanni and Shakespeare’s most charming villains are
close cousins. They confide in us; we know their every
plan. They are rarely the wild card in the story but the
depth of bastardy achieved often takes our breath away.
Giovanni charms us as Richard III and Iago do. He
seduces us; we may even desire him. And it is unnerving
when we realize that we are his accomplices (as is
Leporello) for we know everything; we could give him
away. But Giovanni’s desire to consume life to the
fullest is empowering and invites our envy. His disregard
for the happiness of others is staggering but he is the
central sun around which all the others revolve. Once
he is eliminated from the story there is no more story
to tell; the adrenaline rush of Don Giovanni is turned
down to a very regular heartbeat.
Da Ponte’s libretto would probably make a very good
play on its own but Mozart’s music cracks the soul
open. Shakespeare would have understood; his verse
does the same. Mozart always understood the essence
of every character he created and he allows all of them
their follies and their strengths. He trusts that people
are interesting; and that trust is in every note, every
melody, every recitative, every rest, every fermata, every
dynamic marking, every tempo change… Nothing is
for show; all is in service to the story. And that story is
always about us. n
Act II
Outside the inn where Donna Elvira is staying,
Giovanni exchanges cloaks with Leporello as part
of his plan to seduce Elvira’s maid. Giovanni lures
Elvira down to the street and, mistaking servant
for master, Elvira lets the disguised Leporello
lead her off while Giovanni serenades her maid.
Anna, Ottavio, Zerlina and Masetto come upon
the disguised Leporello and Elvira. They threaten
him, but he reveals his identity and escapes.
Leporello and Giovanni reunite in a cemetery.
They hear a voice coming from the statue of the
slain Commendatore, warning Giovanni of his
impending doom. Giovanni laughs and insists that
Leporello invite the statue to dinner. It accepts,
much to their surprise. At Giovanni’s dinner, Elvira
begs him to reform, but he dismisses her. The
Commendatore’s statue arrives and again warns
Giovanni to repent. He refuses and plummets into
hell. The other characters arrive and Leporello
explains what has happened. They all announce
their plans for the future, then sing the moral of the
tale: “Those who do evil come to an evil ending.” n
Des Moines Metro Opera’s new scenic design shop allows us to
construct our own sets, including a partial build for Don
Giovanni. Pictured above is one of the set models it was based on.
28
Des Moines Metro opera
IRRESISTIBLE
FORCE
IMMOVABLE
OBJECT
In Don Giovanni, the man and
the music become captivating
tours de force
By MARK TIARKS
Don Juan made his literary debut in 1630 in The
Trickster of Seville, or The Stone Guest, a play
by tirso de Molina; Moliere and carlo Goldoni
both wrote Don Juan plays and it was a popular
subject for puppet shows and commedia dell arte
companies, which usually staged it as a raucous
and ribald comedy. While da Ponte borrowed
substantially from Bertati’s text, he also improved
it immeasurably in dramatic detail, specifics of
language, and richness of characterization.
meaning and the force of the words—to put
yourself with all seriousness into Andromeda’s
situation and position—and to imagine yourself
to be that very person.
the premiere—twice postponed due to illnesses
in the cast—was scheduled to begin at 7 pm.
Audience members started arriving by 5:30 and
the box office shut down an hour later, with the
theater completely packed. the performance
ended by 9:30; tempi were brisk and set changes
fast. It would be a mistake to suppose that the stage
presentation was rudimentary or ineffective—while
the scenery, other than furniture, consisted of twodimensional drops and wings, the designs were
vivid and the scene painting could be spectacular.
Raaff and del Prato spoil the recitatives by
singing them without any spirit or fire, and so
monotonously! They are the most wretched
actors that ever walked on a stage.
he spent much time during Idomeneo rehearsals
getting the cast to perform with appropriate
energy and identification with the dramatic
situations, to variable success. In one letter to
his father he reported:
Mozart was a passionate theatergoer and perceptive
critic of performance and dramatic construction.
THIS PAGE:
Portrait of
Wolfgang
amadeus
Mozart, 1819.
Barbara Krafft
(1764-1825).
(Gesellschaft der
Musikfreunde,
Wien, Austria)
OPPOSITE PAGE:
Don Juan and
the statue of the
Commander,
c. 1830-1835.
Alexandre-Évariste
Fragonard (17801850). (Musee
des Beaux-Arts,
Strasbourg,
France)
the Prague orchestra was small but highly skilled,
famous for the quality of its wind players and the
accuracy of its ensemble execution. the singers
were generally first-rate. We often see middleaged performers in many of the roles, but this
was not the original point of view. Luigi Bassi, a
22-year-old baritone, took the title role to great
effect; he was acclaimed as “a very skilled actor
in tragedy with no trace of burlesque, and with
no vulgarity in comedy.” teresa
t
saporiti, the fiery
24-year-old sister-in-law of Bondini, played
Donna Anna; the role of zerlina was taken by
caterina Bondini, the impresario’s young wife, an
indication that it was considered the leading female
part; the veteran in the cast, in his late 20s, was
basso Felice Ponziani, whose skill in comedy
and patter singing made him a perfect Leporello.
Mozart was a passionate theatergoer and
perceptive critic of performance and dramatic
construction. he also enjoyed performing in
pantomimes and sketched out at least two
comic plays. Not surprisingly, he was strongly
focused on the acting skills of his cast members
and in his letters he constantly stresses this
aspect of opera production. Writing to one of his
favorite sopranos, he described how to succeed
in a new aria of his, advocating a technique that
sounds like eighteenth-century method acting:
I particularly advise you to pay attention to the
expression marks—to think carefully about the
Opera production at the time benefited from a
tradition of theatrical improvisation now lost to us.
the Bondini company was famous in this regard,
and the section of the Act II finale in which the
onstage band plays excerpts from three different
operas, including The Marriage of Figaro, was
created through on-site improvisation, with the
music and text being written down only after the
premiere. Luigi Bassi attended a performance
in Dresden some years later and denounced
the romantic-era ossification that was already
creeping into performances, saying of the finale:
This lacks the liveliness, the freedom, which
Mozart wanted. We never sang this scene
the same way twice. We used our wit, always
creating new things and paying attention only
to the orchestra; everything sung parlando (in
a spoken style) and almost improvised—that is
how Mozart wanted it.
29
30
How Mozart came to write his great works,
often in extreme haste but without seeming to
break a compositional sweat, has fascinated
listeners for two centuries. The best description
of his process was by Mozart himself, in a letter
to a friend who had asked the same question:
When I am entirely alone and of good cheer—
say, traveling in a carriage or walking after a good
meal or during the night when I cannot sleep—
then my ideas flow best and most abundantly.
From where and how they come, I don’t know,
nor can I force them. Those ideas that please
me I keep in memory…it soon occurs to me how
I may turn this or that morsel to account, so as
to make a good dish of it…The committing to
paper is done quickly enough, for everything
is already finished and it rarely differs on paper
from what was in my imagination.
In the case of an opera, Mozart wrote the recitatives,
ensembles and choruses first, then the arias for
singers whose capabilities he knew. He would
write the arias for those unknown to him after
rehearsals began; writing down the overture
came last, although he undoubtedly had musical
ideas salted away for these purposes.
Mozart often stored up outside musical memories
for future use. His recollection of hearing multiple
bands playing simultaneously during the big
“dancing parties” that he often attended was
incorporated into the Act I finale. Here it becomes
a compositional and theatrical tour de force, as
Mozart and da Ponte advance the plot while three
onstage bands play three different types of dances
in varying meters. First comes the minuet, an
aristocratic dance in 3/4 time during which the
partners barely touch each other, performed
by Anna and Ottavio. Next is the contredanse,
a middle-class affair in 2/4 time, performed
by Giovanni and Zerlina. Leporello then grabs
Masetto, to keep him from interfering, and
forces him to perform a teitsch or peasant-style
German dance in a fast 3/8 meter.
hand, in Enlightenment-era thinking there would
be little point in punishing a has-been libertine.
Giovanni clearly has succeeded with Donna Elvira,
who describes his modus operandi in detail: “You
seduced me with your artfulness, with promises
and flatteries, you declared me your wife, and then
after three days you abandoned me to remorse
and weeping.” She is undoubtedly the most recent
addition to Leporello’s catalogue of his master’s
conquests, a point he drives home in the aria with
the repetition of “a thousand and three” Spanish
seductions and the none-too-subtle innuendo
of the final phrase: “You know what he does to
anyone who wears a skirt.”
The earthiness of da Ponte’s text is often suppressed
in English translations. Another case in point is
this exchange between Giovanni and Leporello,
in the first scene just after the Commendatore dies:
Leporello: Bravo! A fine double slaughter!
Ravish the daughter and then murder the father.
Giovanni: He was asking for it.
Leporello: And Donna Anna, was she asking for
it too?
Giovanni does not succeed with Zerlina, although
she clearly is attracted to him. Even if we count
Elvira as his only seduction, his average is .333, a
perfectly respectable figure for the home-run hitter
who can be expected to strike out a lot. As Giovanni
himself freely admits, he doesn’t always succeed.
Don Giovanni has supported an enormous range
of production concepts, from historically accurate
reproductions to depictions of the title character
as a narcissistic drug addict surrounded by a
lingerie-clad harem. Eventually, however, it all
comes back to the music and the text: vivid and
specific yet somehow stimulating an incredible
range of responses and interpretive possibilities.
We can’t deny the seductiveness of the title
character—witness his “Là ci darem la mano” duet
with Zerlina and the “Deh vieni alla finestra” serenade
to Donna Elvira’s maid—or his demonically
irresistible energy, best seen in the act finales
and the so-called champagne aria.
Mr. Fitzwilliam as
Leporello, 1829. Thomas
Charles Wageman (17871863). (By permission of the
Folger Shakespeare Library)
The Singer Francisco d’Andrade as
Don Giovanni in Mozart’s Opera, 1902.
Max Slevogt (1868-1932).
(Alte Nationalgalerie, Berlin, Germany)
One of the most-argued points since its premiere is
the true extent of Giovanni’s achievement as a seducer.
The other hotly debated issue has been the
genre of the work. It is a comedy? A tragedy?
An opera buffa, as Mozart listed it in his personal
catalogue? A dramma giocoso, as the libretto
termed it? This debate is ultimately insignificant,
because Don Giovanni encompasses a huge
range of human emotions. The mania for operatic
categorization is really a nineteenth-century
encrustation; the restrictions of type mattered
not at all to Mozart at this point in his career. He
responded to the specifics of a text and of his cast
in creating an opera, whether it was Don Giovanni
or the profound comedy of The Magic Flute.
Each character sings in the rhythm of his or
her dance, creating an extraordinary dramatic
tension, during which Giovanni surreptitiously
takes Zerlina offstage in order to add her name
to his list of conquests. This scene is the only
one we know of which Mozart sketched out
as part of his compositional process; even his
incredible musical mind must have been unable
to retain all its complexities without written help.
One of the most-argued points since its premiere
is the true extent of Giovanni’s achievement as a
seducer. Some commentators see a chronicle of
failure, saying he doesn’t actually succeed with
anyone during the course of the opera and that
this foretells his downfall at the end. On the other
With Donna Anna the case is ambiguous. Her
first words to him as he is leaving could be a
plea for him to remain (“You would have to kill
me for me to let you flee”) and she calls out to
others for help only after he refuses. Later on,
she offers to Don Ottavio an extended description
of the events that took place in her bedroom
(“He held me close against him. I cried out…I
felt that I had been conquered…Then I began
to scream more loudly, crying for help…”), but
nothing of the sort is heard at the beginning of
the opera. There is total silence while Leporello
waits outside the castle since Mozart chose not
to depict Anna’s description of the events.
The trio near the beginning of Act II is perhaps the
perfect summation of Mozart’s and Da Ponte’s
ability to present multiple contradictory and
complementary messages simultaneously—a
Shakespearean fusion of comedy, pathos, and
irony, told through music of heart-breaking
beauty. Like Leporello, we watch and listen in
disbelief as Elvira convinces herself to succumb
once again to Giovanni’s entreaties, which for
him are just a diversion to get her out of the
way so he can pursue her maid, and which he
celebrates in a burst of self-approval: “There is
no talent more versatile than mine!”
The opera was rapturously received in its premiere;
the Prager Oberamtszeitung wrote: “Connoisseurs
and musicians say that Prague has never heard
anything to rival it.” 215 years later, we in Des
Moines can safely say the same of the explosion
of youthful energy that was Don Giovanni. n
This article first appeared in The Santa Fe Opera’s
2009 season program book and is reprinted here
with their permission.
Mark Tiarks worked for the Des Moines Metro
Opera in 1978 as a Stage Manager and Assistant
Director. He has since served as the Artistic
Administrator for Opera Theatre of Saint
Louis, Producing Director of Chicago’s Court
Theatre, General Manager and General Director
of Chicago Opera Theater, and Director of
Planning and Marketing for The Santa Fe Opera.
31
32
La
Rondine
Giacomo Puccini
“The most beautiful and sincere of my compositions...
I have removed all histrionics and the end is reached
in the most delicate fashion. I always believe in heart
in preference to head.” Puccini
33
34
LA rONDINE
(thE sWALLOW)
Photo captionEd molore ming
by Giacomo Puccini
A Commedia lirica in three acts
t
text
by Giuseppe Adami after a libretto by A.M.
Willner and heinz reichert
First performance: Monte carlo; théâtre de
l’Opéra, March 27, 1917
A new production performed in Italian with
English supertitles above the stage
sponsored by Frank r. Brownell, III
INtErMIssIONs AFtEr Act I AND Act II
ABOVE:
The Red Rose, 1923.
Sir John Lavery
(1856-1941).
(© Crawford
Municipal Art
Gallery, Cork,
Ireland / The
Bridgeman Art
Library)
AnTERIOR:
The Bal Bullier, 1902.
Ludovic Vallee (18641939). (Musee de la
Ville de Paris, Musee
Carnavalet, Paris,
France / Giraudon /
The Bridgeman Art
Library)
cAst
PrODuctION
Magda de Civry
JOycE EL-khOury *
Conductor
MIchAEL BOrOWItz
Lisette, her maid
sArAh JANE McMAhON †
Stage Director
DuGG McDONOuGh
Ruggero Lastouc
hArOLD MEErs †
Associate Conductor
MIchAEL sAkIr
Prunier, a poet
JOhN VIscArDI *
Assistant Stage Director/Choreographer
JOhN DE LOs sANtOs *
Rambaldo Fernandez
tONy DILLON
Production Assistant
DAN JAcOBsEN
yvette
DANA PuNDt
Chorus Master
LIsA hAssON
Bianca
JEssIE LyONs *
Musical Preparation
tEssA hArtLE *
ALLEN PErrIELLO
Suzy
krIstEN DININNO *
Périchaud
ALExANDEr ELLIOtt
Gobin
cuLLEN GANDy *
Crébillon
IsAAc DrOschA *
A Singer
rEBEccA kryNskI *
Scenic Designer
r. kEIth BruMLEy
Lighting Designer
BArry stEELE
Costume Designer
rOBIN McGEE
sArAh hAtt
hA EN for Elsen and Associates
A Steward
GrEGOry JEBAILy
EBAILy *
EBAIL
Costumes
sANtA
t FE OPErA
tA
sEA LE OPErA cOstuME shOP
sEAtt
* company debut
LIsA kELLy
kELL
†
Former Des Moines Metro Opera Apprentice Artist
syNOPsIs
35
DIRECTOR’S nOTES
SETTInG: FRAnCE DURInG THE BELLE EPOqUE
By DuGG
DuGG McD
McDONO
ONOu
uGh
ACT I - An elegant salon in Magda’s house in Paris
“Forse, come la rondine, migrerete oltra il mare, verso
un chiaro paese di sogno, verso il sole, verso l’a
l’amore.
(Perhaps, like the swallow, you will migrate across the
seas, toward a sun-filled land of dreams, toward the
sun, toward love.)
Magda de cirvy entertains in her elegant house
in Paris. It is late afternoon. her guests include
the wealthy banker rambaldo Fernandez, who is
maintaining these surroundings, other gentlemen
with their ladies, and the poet Prunier, a favorite
in the salons of the city. Prunier sings his latest
ballad which is given a very special ending by
Magda. the poet also tells how romantic love
is blossoming in Paris and that the sentimental
passion could even find its way to those in the room.
his attempts at telling fortunes are interrupted
by the maid, Lisette, who announces a visitor,
ruggero Lastouc, a friend of rambaldo’s family.
the young ruggero wishes to know how he
should spend his first night in Paris. the girls
suggest cafés and night spots. Lisette, however,
insists on the Bal Bullier as being the best. the
guests depart and Magda, left alone, determines
to disguise herself as a grisette and try to recapture
the innocent passion of her youth at the Bal Bullier.
ACT II – The Bal Bullier
ruggero sits at the Bal Bullier a few hours later
surrounded by beautiful and inquisitive girls. he
remains aloof. Magda enters and is pursued by
students. she tells them someone waits for her
and they escort her to ruggero’s table. he does
not recognize her, understands her predicament
and asks her to join him. Magda’s memory of a
youthful romance is reiterated and they fall in
love. Later Lisette and Prunier join them. When
rambaldo is seen entering, Lisette takes ruggero
away for a moment. Magda and rambaldo have
words and she tells him that she is in love and
that their affair is over. rambaldo departs along
with the other guests. In the pale light of dawn
the lovers sing of their happiness.
Forty years ago those poetic words, sung by the tenor
Prunier to the alluring leading soprano Magda in Puccini’s
La Rondine (The Swallow)
Swallow) on the stage of des Moines
Metro opera’s first festival season, signaled not only
the face of the opera’s heroine, but a signature moment
in the fledgling life of one of america’s most unique
and successful operatic adventures. indeed, in that
initial dMM
MMo
o season, giacomo Puccini’s then-seldomperformed masterpiece became a work indelibly linked
to the then-new festival founded by robert l. larsen.
and as Magda soared “toward dreams and love,” so,
too, did larsen’s vision, built on dreams and love,
soar toward 40 glorious years of outstanding opera in
america’s heartland.
here, for des Moines Metro opera’s 40th season
celebration, our swallow has returned in a “new”
production that highlights some of our country’s
fastest rising operatic talents. our creative team has
given the company’s time-tested production a ravishing
face-lift, immersing the opera’s settings and costumes
in the composer’s own world of european art
nouveau. That first part of the 20th century, which
is currently enjoying a popular revival in film (the
anniversary re-release of Titanic
Titanic)) and television
(Masterpiece Classics’ Downton Abbey),
Abbey), seemed to all
of us on La Rondine’s creative team as a perfect era in
which to mirror the rich lives of Puccini’s unforgettable
characters within the soon-to-be vanishing world of
europe’s old world late romanticism. So, in this
summer of 2012, des Moines Metro opera invites
you to fly back 100 years with us and share some of
the opera world’s most moving characters and most
ravishing music! let the emotions and melodies soar! n
ACT III – A summer house on the French Riviera
For one month the lovers have lived a blissful
existence on a hilltop that overlooks the ocean.
At afternoon tea ruggero surprises Magda by
telling her that he has written for the consent of
his parents that they might be married. Magda is
incredulous. When left alone, she determines to
leave him. Lisette and Prunier arrive from Nice
where Lisette has made an unsuccessful theatrical
debut. Prunier insists that Magda return to Paris
and says that rambaldo still waits for her. ruggero
receives the letter of permission, but Magda
reveals her past to him and says that his mother
must never know her. she tells him that he was
the only man she ever loved and bids him farewell.
supported by the faithful Lisette, she walks down
the hill—ruggero remains, alone and lost. n
Set design for Act II
36
the resulting form, musical numbers embedded
in a sophisticated continuous musical tissue,
combined with demands for refined vocalism,
suggests a typical Puccini opera. (Puccini’s “inbetween” music is often as melodically compelling
as the self-contained “numbers,” for example, the
desperate melody that accompanies tosca’s
t
concealing scarpia’s knife.) On the other hand,
the light tone, prevalence of waltzes, use of
disguise as a plot device, and frankly comedic
secondary characters are characteristics of
operetta. the denouement is neither tragic, like
most of Puccini’s operas, nor happy, like most
operettas of this period, but evokes pathos.
RIGHT:
Giacomo Puccini,
c1907. (Library of
Congress Prints
and Photographs
Division)
OPPOSITE PAGE:
The Salon of
Princess Mathilde
(1820-1904),
1883. nittis,
Giuseppe or
Joseph de (184684). (Pinacoteca
Giuseppe de
nittis, Barletta,
Italy / Alinari /
The Bridgeman
Art Library)
PUCCInI’S
POIGnAnT
OPER(ETT)A
the composer defies genres and
convention with La Rondine
By JOSEPH SMITH
As a synthesis of Italian opera and
Viennese operetta, La Rondine richly
merits the abused word “unique.” this
mixture of genres, disconcerting to
some listeners, delightful to others,
results from the work’s commission. In
1913 Puccini attended a performance
at the carl theater in Vienna, which
specialized in operetta, and on the spot,
the directors offered him a lucrative
commission. Puccini proposed that
the libretto, once agreed on, would be
translated and he would set it in Italian,
which would then be translated back to
German for the carl theater. But he also
decided not to compose an “operetta”
(musical numbers with spoken
dialogue), but rather a light opera with
singing throughout, a choice that would
require much more music.
entire story. Magda’s first aria is ostensibly
her improvised strophe for the poet Prunier’s
song about a fictional “Doretta.” But to Magda,
this story is a parable: she is kept by the rich,
devoted, indulgent rambaldo; the story of
Doretta forces her to weigh her situation against
the lost possibility of love for love’s sake. heard
outside the opera, the aria is a pretty melody
and a splendid showpiece for refined vocalism.
In context of the story, however, this slow,
swaying waltz is also a distillation of longing.
her second aria recounts a romantic flirtation
from her youth, when she managed a fleeting
escape from a watchful aunt and visited
the dance hall, Bullier. there she met a boy,
accepted a beer from him, and they exchanged
names. Back then, she thought this the dizzying
summit of romance! Magda evokes the naïve,
innocent girl she once was in a quick, lilting
Parisian waltz, its final bars, however, tinged with
minor mode (“one pays for the happiness of
romance with tears”). In the second act, material
from this aria is reprised to draw the parallel
between remembered and present romances.
As it turned out, Rondine was not premiered in
Vienna. World War I intervened, and Italy revoked
its neutrality in 1915. thus, the carl theater
allowed Puccini to give the premiere to Monte
carlo instead. the opera never achieved the
widespread success Puccini anticipated, and
depending on his mood, he would call it “this sow
of an opera” or “the most beautiful of my operas.”
First, let us examine operetta conventions
in La Rondine. the work could hardly have
been offered to a Viennese operetta audience
without an abundance of waltzes. these waltzes
are notable not just for their tunefulness and
subtlety, but for their dramatic significance as
well. Naturally, since set in a dance hall, the
second act blossoms in a long, varied sequence
of waltzes. But in three instances in the first act,
passages in waltz time foreshadow the
Lady in Rose
Giovanni Boldini (1842-1931).
(Museo Giovanni Boldini, Italy)
37
38
Later in the first act, Prunier tells Magda’s fortune
in a few pregnant phrases. The tune’s hesitations
are at once a waltz characteristic, as well as an
expression of Prunier’s reluctance to reveal a sad
future. He tells her that as a swallow (in Italian,
rondine) migrates to warmth, she will fly away
to love. He delicately evades the corollary: like a
swallow, she will eventually return to her nest—
her comfortable but empty life as Rambaldo’s
mistress. After her guests have left, Magda gently
recalls the happy portion of the prediction and
is inspired to go to Bullier to revisit her youth.
At Bullier, a fragment of the prediction motif
accompanies the disguised Madga’s first shy
encounter with Ruggero. The words serve as
the work’s motto: Magda’s ineluctable destiny is
to return to Rambaldo, and the tiny waltz strain
distills the opera’s bittersweet mood.
Morning, South of
France, 1899-1900. Sir
John Lavery (1856-1941).
(Private collection)
But those who can accept Rondine for what it is, a work
that evades genre, will find in it a gentle sweetness and
charm all its own.
Like many operettas, La Rondine juxtaposes
its romantic couple with a comedic couple. In
the first act, Prunier, the conceited poet, and
Lisette, Magda’s outrageously saucy maid, have
consistently advertised their mutual antipathy. In
their duet toward the end of the act, however,
we learn that this repulsion is the reverse side of
attraction. This duet epitomizes the delicacy of
the score. It is so hushed and intimate that we
feel as though we are eavesdropping, watching
two proud beings humble themselves. Is there,
perhaps, a hint of masochistic pleasure in their
surrender? The duet never rises above piano and
lies exclusively in middle voice until the floated
tones of the final few bars. Thus Puccini transforms
an operetta convention, a comedic duet, into a
scene of smoldering eros.
Now, I hope to mitigate a problem many find
with one aspect of the plot. How can Ruggero
possibly believe Magda to be chaste? (Puccini
himself sarcastically wrote his librettist, “Where
did he find her? In a convent, perhaps?”) But
I find no evidence whatsoever that Ruggero
supposes her to be “pure.” Consider his position.
He is in love with a woman at once sweet and
sophisticated. He believes he will love only once
and forever. Magda has warned him on their
very first meeting that her past is a mystery that
he would do well to avoid, and he apparently
takes her at her word. As the poet wrote, “Where
ignorance is bliss, ‘tis folly to be wise.” While we
know that Ruggero’s letter to his mother
that the past makes no difference to him, the
music gradually fades with the twilight as Magda
soothes her immature lover like a child. The
phrases become ever shorter and softer, until we
are left with a single note—her pianissimo sigh.
Puccini’s most famous operas end with anguished
outcries: “Mimi!” “O Scarpia, avanti a Dio!!” “Butterfly!”
With Fanciulla and Rondine, Puccini demonstrates
that he can wring commensurate emotional
impact from pianissimo.
Those who expect a Puccini opera to climax
in a cathartic death will be disappointed in La
Rondine. Likewise, those who, on the basis
of the opera’s overall tone, expect a happy
resolution. But those who can accept Rondine
for what it is, a work that evades genre, will find
in it a gentle sweetness and charm all its own.
“The most beautiful of my operas”? Well, as
beautiful as any of them! n
Pianist and writer Joseph Smith has contributed
to such publications as Seattle Opera News, City
Arts Magazine, Lincoln Center Stagebill, and the
Journal of the American Liszt Society, as well
as the Des Moines Metro Opera program. He
has long been a pianist and collaborator for Des
Moines Metro Opera’s annual singer auditions in
New York.
Rondine Revisited
Carol Stuart sang the role of Magda in Des Moines
Metro Opera’s first ever opera production when the
company staged Puccini’s La Rondine. 40 years later,
Des Moines Metro Opera’s original prima donna shares
her thoughts on the piece and what it means to her.
extols Magda, there is no indication that he has
explicitly addressed her “purity.” This, rather, is
his mother’s assumption. (Or has she sensed
some evasion, and her letter is a clever means
of forcing the issue?) Ruggero is, however, naïve
in supposing that he can introduce her to his
family with her “mystery” unchallenged. Magda
knows the world better.
Despite its lightness, Rondine faces up to a
bitter truth: the only thing precluding the lovers’
marriage is society’s inflexible division of women
into “good” and “bad.” (Verdi’s earlier La Traviata,
with a similar plot, uses Violetta’s deathbed
reconciliation with the Germonts to distract
us from this hard fact.) It is ironic that Rondine
ends with Magda consoling Ruggero. Although
he is utterly heartbroken, he is likely to find love
again and marry. Magda has no such possibility.
Her dream, magically realized, is irrevocably
destroyed. Following his passionate protestation
I became aware of La Rondine because of Robert L.
Larsen. He is my guru for all things opera. I was
aware of the piece because of him. He told me in
1973 they were doing La Rondine so I did it. The
music is so gorgeous. It has absolutely beautiful
music. It’s amazing that it’s coming back after
40 years.
Larsen’s vision was to bring opera to this area and
to these communities, areas that wouldn’t have
this opportunity otherwise and he was able to
realize it in full. That is his legacy. I am honored
and thrilled to be a part of that legacy. It changed
my life completely I had been a singer since I was
13 but I never thought of making a career out of
singing and Rondine changed that. I sang in that
opera and then it just took off.
I have recordings of that entire season and I take
them out every once in a while to listen to them.
There was a woman, Anne Larson, who’s not with
us any more. She was my best friend and she was
in that opera with me; and for what’s worth, I can’t
think of La Rondine without thinking of her. n
Carol Stuart as Magda
in Des Moines Metro
Opera’s 1973 production
of La Rondine.
39
40
Eugene
Onegin
Pyotr Il’yich Tchaikovsky
“Onegin is full
of poetry…the
lyrical quality,
the humanity,
the simplicity
of the story and
a text written
by a genius.”
Tchaikovsky
41
42
EuGENE ONEGIN
(yEVGENy ONEGIN)
syNOPsIs
ACT I - AUTUMn
Scene I, Outside the Larin country estate
First performance: Moscow; Moscow
conservatoire; March 29, 1879
Madam Larina reflects upon the days before she
married, when she was courted by her husband
but loved another. she is now a widow with two
daughters, t
tatyana and Olga. t
tatyana spends her
time reading novels, whose heroines she closely
identifies with, while Olga is being courted by their
neighbor, the poet Lensky. he arrives unexpectedly,
bringing with him a new visitor, Eugene Onegin,
with whom t
tatyana immediately falls in love.
A company premiere performed in russian
with English supertitles above the stage
Scene II, Tatyana’s bedroom
by Pyotr Il’yich tchaikovsky
t
Lyric scenes in three acts
Libretto by the composer and konstantin
stepanovich shilovsky after Alexander
sergeyevich Pushkin’s novel in verse (1833)
INtErMIssIONs AFtEr Act I AND Act II
t
tatyana
stays up all night writing a love letter to
Onegin and persuades the nurse Filippyevna to
deliver it in the morning.
Scene III, The garden
PrODuctION
Conductor
DAVID NEELy
EEL
EELy
ACT II – JAnUARy
Scene I, Madame Larina’s house
Stage Director
krIstINE McINtyrE
Friends and neighbors have been invited to
celebrate t
tatyana’s name-day. Onegin has
reluctantly agreed to accompany Lensky to what
he mistakenly believes will be an intimate family
celebration. Annoyed to find himself trapped at
a country ball and bored by the occasion, Onegin
takes his revenge on Lensky by flirting and dancing
with Olga. Lensky becomes jealous and, after
arguing with Onegin, challenges him to a duel.
Associate Conductor
MIchAEL sPAssOV
ABOVE:
illustration
from Eugene
Onegin, 1952.
Lydia yakovlevna
y
Tymoshenko
(1903-1976)
cAst
AnTERIOR:
Duel between
onegin and Lenski,
1899. Ilya Repin
(1844-1930).
(The Pushkin
Museum of Fine
Arts, Moscow,
Russia)
Assistant Stage Director
Oct
OctAVIO
cArDENAs
Tatyana, daughter of Madame Larina
JAN cOrNELIus †
Chorus Master
LIsA hAssON
Olga, daughter of Madame Larina
ELIsE QuAGLIAt
AGLIAtA
AGLIAt
tA †
Russian Language Coach
tA ANA VA
tAtI
V ssILIEVA *
Madame Larina, a widowed landowner
chrIstINE sEItz †
Scenic Designer
r. kEIth BruMLEy
Filippyevna, an old nurse
JANE shAuLIs *
Lighting Designer
BArry stEELE
Lensky, a poet
cODy AustIN *
sArAh hAtt
hA EN for Elsen and Associates
Eugene Onegin
JOhN MOOrE †
Costumes
sANtA
t FE OPErA
tA
sEA LE OPErA cOstuME shOP
sEAtt
Monsieur Triquet, a Frenchman
trEy cOstErIsAN *
A Captain
ALExANDEr ELLIOtt
Zaretsky, a retired officer
tONy DILLON
Prince Gremin, a retired general
stEFAN szkAFArOWsky
Scene II, Later that evening
* company debut
LIsA kELLy
kELL
Former Des Moines Metro Opera Apprentice Artist
Youth, alienation, disillusion, the loss of innocence: in
each act of Onegin we explore these themes through the
eyes of a different character.
The protagonists are young—o
young—onegin, the oldest, is 26
at the end of the story; Pushkin was 24 when he began
it. They are already alienated from the world around
them: lensky is a poet educated abroad who reads
goethe; onegin, a self-imposed emotional exile, lives in
perpetual ennui; and Tatyana exclaims in her letter
scene, “i
“i am here alone. no one understands me!”
The older generation, too, has endured compromises and
disappointments. larina wasn’t allowed to marry the
man of her dreams and has learned “there are no heroes.”
gremin finds high society shockingly empty, though
Tatyana is a saving grace.
act i is Tatyana’s. we watch her grow up and become
a woman full of courage and determination. This
transformation from wilting violet to passionate adult takes
only two days but as she says in her letter to onegin, she
has been waiting for him her whole life.
act ii belongs to lensky, whose romantic sensibilities get
the better of him. in onegin he has made the best
sort of friend—the kind you don’t agree with but love
anyway—and he watches that very person poison the
love that has sustained him his whole short life. By the
end of the act, lensky and onegin have been forced to
become men and participate in an empty adult ritual
which leaves one of them dead in the snow.
ACT III – ST PETERSBURG, 3 yEARS LATER
Scene I, A ball
Costume Designer
IsABELLA ByWAt
WA Er
WAt
Rehearsal Pianists
ALLEN PErrIELLO
tA ANA VA
tAtI
V ssILIEVA
By krIst
stINE
INE McI
McIN
Ntyr
tyrE
E
Lensky meditates upon his poetry, his love for
Olga and death. Onegin arrives late, to the
annoyance of Lensky’s second. Although both
Onegin and Lensky are filled with remorse,
neither stops the duel from going ahead.
Costume Supervisor
rOBIN McGEE
Choreography
JOhN DE LOs sANtOs (Acts I & II) *
sErkAN ustA
st for Ballet Des Moines (Act III) *
stA
DIRECTOR’S nOTES
Scene II, The duel
having travelled abroad since the duel, Onegin
has returned to the capital. Prince Gremin
introduces his young wife. Onegin is astonished
to recognize her as tatyana.
t
Guillot, Onegin’s valet
GABrIEL GArGArI *
†
t
tatyana
waits for Onegin’s response. he explains
that he cannot accept her declaration.
43
Onegin has sent a love letter to tatyana.
t
hopelessly
in love, he begs her to run away with him. n
Set design for Act II
The third act, finally, belongs to onegin. The forest of
birch trees has been replaced by a forest of columns.
This is onegin’s landscape—inner and outer—formal,
shiny, dead—until Tatyana walks in and all the passion
that he spent years denying comes flooding out. it is
an out-of-body experience. and here, where he once
belonged, he realizes that long ago and far away he passed
up the chance for true happiness. regret is a terrible
mistress and will be onegin’s constant companion for
years to come. n
44
FROM
RUSSIA
WITH
LOVE
this is the fifth of t
tchaikovsky’s 11 operas and
his greatest success among them, yet the nature
of the piece gave him cause for concern. to
t
tchaikovsky, the story lacked grand drama, and
t
he couldn’t imagine it in terms of the grand
musical and vocal gestures that he thought
would appeal to the opera-going public. the
only thing he was sure of was that he was
entranced by the heroine—an utterly typical
response, for russians, so many decades later,
still feel devoted and connected to tatyana.
t
the idea of adapting Pushkin’s celebrated verse
novel as an opera originated with tchaikovsky’s
t
brother Modest, to whom he was very close. the
final persuading came from a friend, the contralto
Elizaveta Larovskaya. t
tchaikovsky had initially
considered the idea to be out of the question.
I suppose he was considering the pressure to
which he would be subjecting himself: this was a
literary work that everyone already knew so well,
and he believed that anything he would create
would be unworthy of it. After Lavrovskaya urged
him to take it on, however, he spent all night
thinking about it, became possessed by the idea,
and created a scenario for the opera.
the arrival of tchaikovsky’s
glorious Eugene Onegin at
is an occasion for rejoicing
By ROGER PInES
Portrait of the Sculptor
Paul Lemoyne,
ca.1810-1811.
Jean-Auguste-Dominique
Ingres (1780-1867).
(The nelson-Atkins
Museum of Art, Kansas
City, Missouri.
Purchase: William
Rockhill nelson Trust,
32-54. Photo: Louis
Meluso)
In opera it’s refreshing to encounter, for a change, a
work populated by human beings whose existence
we can relate to instantly, in a stage environment
that involves no special effects, in an opera that,
both vocally and orchestrally, indulges in no
superhuman extremes. Pyotr Il’yich tchaikovsky’s
t
Eugene Onegin is that kind of opera—its sheer
humanity is evident everywhere. that is actually
one of its greatest glories, helping to make it a
treasure of the repertoire, as DMMO audiences
will experience this season in the work’s
company premiere.
A girl of 17 is desperately in love with a man who
rejects her; she finds a few years later that the same
man now wants her, yet her particular circumstances
keep her from going away with him. there’s more
to it, of course, but this is the heart of the matter,
which keeps us riveted from start to finish.
It’s seldom that one encounters an Onegin
production that doesn’t have something
distinctive and special to say. that’s true in
large part because the piece is such a gift to
performers. If one possesses a good technique
and the right sound, one can sing this opera
easily because t
tchaikovsky has written it
absolutely perfectly. With the possible exception
of the demanding final scene, there’s nothing
to worry about vocally, so singers have the
freedom to pull all the feeling from the inside
out, so to speak—to create characterizations
that are true and believable.
that libretto brilliantly incorporates passages
from Pushkin into many episodes. One really can’t
tell where Pushkin ends and non-Pushkin begins.
the first portion of the score that tchaikovsky
t
composed was t
tatyana’s Letter scene, which is
pure Pushkin virtually throughout.
It’s seldom that one encounters an Onegin
production that doesn’t have something
distinctive and special to say.
the piece’s keynote is lyricism, and it was lyric
voices that t
tchaikovsky was writing for; he
designated Onegin not as an opera but as “Lyric
scenes.” With this—and the youth of the central
characters—in mind, t
tchaikovsky proposed
the premiere to the Moscow conservatory; it
occurred at their Maly theater in March of 1879.
It was two years later that Onegin received its
first performance at the Bolshoi. Not until three
years after that, with a performance at the Maryinsky
theater in st. Petersburg, did russians finally
understand that a new masterpiece had entered
their native repertoire.
t
tchaikovsky’s
score is a miracle, with literally every
episode a major highlight, from the “double duet”
of the sisters, their mother, and their nurse at the
start to the devastating final confrontation of the
two protagonists. Melodically sublime (think of the
rapturous phrasing of Lensky’s first aria and the
aching sweetness of his second), orchestrally both
eloquent (the oboe and horn writing that memorably
colors the Letter scene) and sumptuous (the famous
dance sequences that open Acts t
two and three),
the music has never lost its appeal—it remains
eternally fresh to our ears.
In so much of the work, what draws Onegin’s
audience is a unique intimacy. A notable example
is the spellbinding duet for Lensky and Onegin
before the duel (sung to a text that does not
occur in Pushkin’s novel). It’s brilliantly managed
by t
tchaikovsky: the lines are in almost exactly
the same range and fall over each other, and the
inward-looking expressiveness could hardly be
more painfully and movingly expressed.
Portrait of Pyotr
ilyich
lyich Tchaikovsky
Tchaikovsky,
1893. nikolai
Dmitriyevich
Kuznetsov
(1850–1930).
the plan was that konstantin shilovsky, an actor
friend of the composer’s, would create a libretto
from the scenario. But t
tchaikovsky was unhappy
with how the work was proceeding and pulled
shilovsky from the project. Other than the verses
for Monsieur t
triquet’s aria in Act t
two, we’re not
certain how much more of the text is shilovsky’s,
but t
tchaikovsky himself definitely gets the major
portion of libretto credit.
45
Intimacy is, of course, essential to the Letter scene,
the heart of the opera. how marvelously it begins,
with the orchestral introduction making clear the
turbulence of t
tatyana’s thoughts at that moment.
she has kept everything inside until she can be alone
with herself. the singer has to respond with seeming
spontaneity, thought by thought, to create a moving
truthfulness in her interpretation. Listening to the
exquisite theme (when t
tatyana wonders if Onegin
46
is her guardian angel or whether he will simply
discard her), one understands why Tchaikovsky
wrote the opera in a sort of ecstasy.
Just as memorable is the aria in the ensuing scene,
in which Tchaikovsky’s surpassingly elegant
legato enables Onegin to explain to Tatyana that
he is not the marrying kind. Onegin is always
criticized for his callousness in this situation, but
that quality emerges more in a singer’s and director’s
interpretation, rather than being inherent in what
Tchaikovsky has given them. Besides, if the
character is played as consistently nasty and
cold, the audience would quickly lose patience
with Tatyana for wanting anything to do with him!
He is simply who he is, and people can draw their own
conclusions about how he’ll spend the rest of his life.
One can play devil’s advocate on Onegin’s behalf
by remembering that Tatyana has essentially
thrown herself at him. He didn’t ask her to love
him—and, as Pushkin says, “He didn’t wish to
betray a soul so trusting as hers.” He is letting
her down as easily as he can. Tchaikovsky’s music
is straightforward and not aggressive. Onegin
does have manners—and what else can he do?
He can’t give Tatyana what he hasn’t got. It is the
elegance with which Onegin delivers this rejection
that somehow makes it hurt Tatyana all the more.
It’s understating the case to say that the final pages
of the duet ask the singers for everything they’ve
got: Tchaikovsky finally lets the orchestra go full
steam against the voices in a way he hasn’t anywhere
else—and then suddenly Tatyana cries out on a
high B, “Proschay navek!” (“Goodbye forever!”)
before rushing out of the room. She leaves Onegin
bitterly declaring—virtually a cappella, so it really
hits home—“Pozor! Toska! O zhalki, zhrebi moi!“
(“Shame! Despair! Oh, my pitiable fate!”)
Some listeners are disappointed that, instead of
Tatyana, we are left with Onegin. But he is the
title hero—or anti-hero, more accurately—and
neither Tchaikovsky nor Pushkin is judging him.
He is simply who he is, and people can draw
their own conclusions about how he’ll spend
the rest of his life. For that word he sings at the
end, “toska,” Vladimir Nabokov had his own
definition: “a dull ache of the soul, a longing
with nothing to long for, a sick pining, a vague
restlessness, mental throes—yearning.” n
On Alexander
Pushkin’s verse
novel Eugene
Onegin:
Tchaikovsky based his opera on Alexander Pushkin’s
verse, Eugene Onegin. Des Moines Metro Opera
asked David Maxwell, President of Drake University in
Des Moines, Iowa, and Doctor of Slavic Languages and
Literature, to share his thoughts on the novel and
its legacy. The following is an excerpt taken from
his presentation at the opera preview.
I suggest to you that the novel is really about
form and about language. It is not about the
characters as people or the plot itself. It is
metaliterature—literature about literature.
Roger Pines, dramaturg at Lyric Opera of
Chicago, writes for recordings and major opera
companies, while also contributing regularly
to Opera, Opera News, International Record
Review, and The Times (London).
The novel is in verse with constant narrative
intrusions and digressions that remind the
reader that this is art, not reality. At one point
when the narrator is about to describe Onegin’s
entrance into a ball, the narrator stops and says,
“But never mind this—we must hurry, for
while extraneous themes I broach, Onegin in
a headlong flurry, drives to the ball by hired
coach.” Then, right after reminding himself
that he must hurry the narrative, the narrator
dives into a famous digression on women’s feet
that lasts for five stanzas.
Both of these central characters change significantly
in the time that elapses between the end of Act
Two and the start of Act Three. As we hear in his
arioso, the Onegin who returns to St. Petersburg
after four years of travel abroad is continually
haunted by a bloody ghost. It’s clear that he is
suffering and that he has become vulnerable—the
coolness we heard before is gone. Stunned that
the regal young woman he has just seen is, in fact,
Tatyana, he bursts forth in the same passionate
music—and much of the same text—that we
heard from her at the start of the Letter Scene.
The change in Tatyana is obvious in the calm,
measured pace with which she begins the final
duet. As she explains to Onegin that she is no
longer the girl he once knew and wonders if
he is attracted to her because of her social
position, the music demands a new depth
and womanliness in her tone. In her pained
declaration, “Ya vas lyublyu!” (“I love you!”)—the
opera’s most emotionally charged moment—the
soprano achieves the ultimate expressive effect by
pulling the voice back into a sustained pianissimo.
Illustration from
Eugene Onegin, 1952.
Lydia Yakovlevna
Tymoshenko (1903-1976)
ABOVE:
Portrait of Alexander
Pushkin, 1827.
Vasily Tropinin (17761857). (The Pushkin
Museum of Fine Arts,
Moscow, Russia)
ABOVE RIGHT:
Illustration from
Eugene Onegin, 1908.
Elena Petrovna
Samokish-Sudkovskaya
(1863-1924).
Ultimately, that’s what Eugene Onegin is about:
magic sounds, poetry, bending language into
shapes and patterns that are different from
normal discourse, making it mean new things,
making it mean things in ways that it hasn’t
before. Pushkin thumbed his nose at tradition,
threw aside all of the rules about language and
thus opened the door for a new artistic freedom.
With Eugene Onegin, Pushkin is in many ways
responsible for creating the mandate for
innovation that led to the flowering of the short
story and novel forms in 19th century Russia—
the world of Gogol, Lermontov, Turgenev,
Dostoevsky, Tostoy and Chekhov. n
47
48
Company Directors
Michael Egel
Artistic Director
Michael Egel of Indianola,
Iowa, was appointed Artistic
Director of the Des Moines
Metro Opera in September of
2010, after having served as
the Artistic Administrator/Director of Education
since 1999. He joined the festival staff in 1994.
He is responsible for repertory selection,
casting of singers, selecting conductors and
stage directors for mainstage productions and
oversight of the company’s collaborations with
creative and design teams. During the summer
festival season, he coordinates the activities
of over 200 company members, including
creating the performance and singer-training
components for the Apprentice Artist Program
and often functions as a stage director within
the program. During the winter he works with
the young artists of Des Moines Metro Opera’s
OPERA Iowa Educational Touring Troupe in
developing educational materials and artist-led
workshops and serving as a stage director for
several of their touring productions. In 2008
he initiated the commissioning of a major
Karol Nickell
Executive Director
Karol Nickell of Urbandale,
Iowa, was appointed Executive
Director of Des Moines
Metro Opera in September
2011. Nickell joined the
company at the beginning of its 40th year and
is the company’s third executive director. Her
primary responsibilities include operational
oversight, directing the company’s fundraising,
development, marketing and public relations
activities, collaborating with the artistic director
on repertory selection and educational
programs, orchestrating strategic planning
and coordinating community outreach. She
reports to the Des Moines Metro Opera Board
of Directors and also serves as the secretary
and board director for the Des Moines Metro
Opera Foundation.
Mainstage Conductors and Directors
children’s opera on a subject from Iowa history
that was produced in conjunction with the
Iowa Department of Cultural Affairs and was
premiered in January of 2009.
His education credentials include a Bachelor of
Music in Performance and Education from Simpson
College and a Master of Music from the University
of Memphis. In March 2011 he was named to the
Des Moines Business Record “Forty under 40”
which serves to identify young leaders making
an impact in the Greater Des Moines Area.
He has previously been on the administrative
and directing staff at both Opera Memphis and
the Natchez Opera Festival and has served
frequently as an adjudicator for the Metropolitan
Opera’s National Council Auditions. During the
last three years, he has served on the steering
committee for the National Singer Training
Forum with other singer-training personnel at
OPERA America and has presented on the topic
of Singer Training at several conferences for
them. He has been a panelist for the National
Opera Association regarding career issues for
young singers and has contributed to national
publications regarding the auditioning process
and training for singers.
Prior to her time with the company, Nickell had
served as Vice President, Editor in Chief at two
major media companies—Meredith Corporation
and The Reader’s Digest Association. In her
role at Better Homes and Gardens, Nickell set
and executed a new direction for Meredith’s
flagship magazine and franchise, attracting new
customers, creating new multi-media programs,
and representing the magazine via TV, radio,
print and online. Nickell is also the founding
Editor in Chief of Traditional Home magazine,
where she orchestrated several show houses
that raised nearly $1 million for breast cancer
research non-profit organizations.
Nickell has served as Board Director, Chair of
Finance and Compliance Committees for United
Way of America. She is currently Vice-Chair,
Greenlee School of Journalism Advisory Board,
Iowa State University. Nickell holds a BS in
Home Economics Journalism and a MBA from
Iowa State University.
The 40th Anniversary Season
marks the final year of the threeyear transition period from a single
conductor and stage director to
three teams, each dedicated to a
single opera.
Michael Borowitz
Conductor, Baton Rouge, LA
La Rondine
DMMO History: Conductor, Don
Pasquale 2011; Head of Music Staff
2004-2005; Assistant Conductor,
1997-2005; Music Coach, Apprentice
Artist Program 1997-2005
Recently: Music Director, Opera
Louisiane 2011–present; Assistant Professor of Opera,
Louisiana State University 2009–present; Artistic Director,
Nevada Opera 2003–2011; Music Director, Ohio Light
Opera 2008–2011
Upcoming: Conductor, Il trittico, Baltimore Concert
Opera, Alice in Wonderland, AVA Ballet, The New
Moon, The Turn of the Screw, LSU Opera at Louisiana
State University
Sponsors: Holly and Neal Logan, Patrick Kelly
Dugg McDonough
Stage Director, Baton Rouge, LA
La Rondine
Co-Director, Apprentice Artist Program
DMMO History: Stage Director,
Dialogues of the Carmelites 2011,
Susannah 2010; Co-Director,
Apprentice Artist Program 1993-present;
Apprentice Artist Program, 19911992, 1981; Assistant Stage Director, 1992, 1991, 1981
Recently: Artistic Director, LSU Opera at Louisiana State
University; Stage Director, La tragédie de Carmen, Little
Women, Pensacola Opera; La Cenerentola, La Bohème,
LSU Opera; Les Mamelles de Tirésias, Loyola Opera Theatre
Upcoming: Stage Director, Sweeney Todd, Pensacola
Opera, The New Moon, The Turn of the Screw, La tragédie
de Carmen, Impressions de Pelléas, LSU Opera, L’elisir
d’amore, Opera Louisiane
Sponsors: H. Dale and Lois Bright Foundation
Kristine McIntyre
Stage Director, Portland, OR
Eugene Onegin
La Bohème 2011
Recently: Stage Director, Of Mice
and Men, Utah Opera, Tosca, Pittsburgh
Opera, Madama Butterfly, Arizona Opera,
Così fan tutte, Lyric Opera of Kansas
City, Carmen, Kentucky Opera, Flight, Austin Lyric Opera
Upcoming: Stage Director Un Ballo in Maschera,
Madison Opera, Don Giovanni, Kentucky Opera,
La Cenerentola, Pittsburgh Opera
Sponsors: James and Catherine Erickson/Anderson
Erickson Dairy Company
David Neely
Conductor, Lawrence, KS
Principal Conductor and Music Director,
Don Giovanni, Eugene Onegin
DMMO history: Conductor, La
Bohème, Dialogues of the Carmelites
2011, Macbeth, The Marriage of Figaro
2010; Co-Director of Apprentice Artist
Program, 2005-2009; Assistant
Conductor, 2003-2009
Recently: Conductor, Vanessa, Sarasota Opera,
Hänsel und Gretel, Eutin Festival (Germany), Kansas
University Symphony Opera Gala
Upcoming: Conductor, Of Mice and Men, Sarasota
Opera, La Traviata, Opera New Jersey
Sponsor: Diane Morain
Tim Ocel
Stage Director, Saint Louis, MO
Don Giovanni
DMMO Debut
Recently: Stage Director, The Taming
of the Shrew, American Players Theatre, Dead Man Walking, Union Avenue
Opera, Carousel, Webster University
Conservatory of Theatre, Nobody
Don’t Like Yogi, Indiana Repertory Theatre
Upcoming: Stage Director, The Whipping Man,
Indiana Repertory Theatre/Geva Theatre Company,
Jackie and Me, Metro Theatre Company, Cloud Nine,
University of Michigan-Ann Arbor
Sponsor: A.E. Easter Family Foundation
49
50
Principal Artists
Cody Austin
Tenor, Spring, TX
Vladimir Lensky, Eugene Onegin
DMMO Debut
Recently: Edmondo, Manon Lescaut,
Opera Company of Philadelphia; Don José,
La Tragédie de Carmen, Shreveport Opera;
Alfredo, La Traviata, Lyric Opera Virginia
Upcoming: Pinkerton, Madama Butterfly,
Nashville Opera; Roméo, Roméo et Juliette, Lyric Opera Virginia Sponsors: Patty and Jim Cownie
Jan Cornelius
Soprano, Deer Park, TX
Tatyana, Eugene Onegin
DMMO History: Mimi, La Bohème
2011; Apprentice Artist 2001, 2002
Recently: Countess Almaviva, Le
nozze di Figaro, Fort Worth Opera
Upcoming: Marguerite, Faust, Austin
Lyric Opera; Rosalinda, Die Fledermaus,
Knoxville Opera; Pamina, The Magic Flute, Birmingham Opera
Sponsors: Pamela Bass-Bookey and Harry Bookey
Tony Dillon
Bass, Moline, IL
Rambaldo, La Rondine
Zaretsky, Eugene Onegin
DMMO History: 10 roles since 2001,
including Marquis de la Force, Dialogues
of the Carmelites 2011; Sir Robert Cecil,
Gloriana, Luther/Crespel, The Tales of
Hoffmann 2005
Recently: Sharpless, Madama Butterfly, Dubuque Symphony;
Dansker (cover), Billy Budd, Glyndebourne Festival
Upcoming: Verdi Requiem, University of Wisconsin Choral
Union & Symphony Orchestra; Alcindoro/Benoit, La Bohème,
Seattle Opera
Sponsors: Linda and Tom Koehn
Joyce El-Khoury
Soprano, Ottawa, Canada
Magda de Civry, La Rondine
DMMO Debut
Recently: Esmeralda, The Bartered
Bride, Frasquita, Carmen, Metropolitan
Opera; Mimi, La Bohème, Castleton
Festival; Violetta, La Traviata, Welsh
National Opera; Soloist, Rossini Petite
messe solennelle, Carnegie Hall Upcoming: Mimi, La Bohème, Soloist, Beethoven Missa
Solemnis, Munchner Philharmoniker; Violetta, La Traviata,
De Nederlandse Opera, Opera Theatre de Saint-Etienne,
Palm Beach Opera; Antonina, Belisario, Opera Rara/BBC
Symphony Orchestra
Sponsor: Frank R. Brownell III
Brenda Harris
Soprano, Riverside, CT
Donna Elvira, Don Giovanni
DMMO History: Madame Lidoine,
Dialogues of the Carmelites 2011;
Lady Macbeth, Macbeth 2010;
Agathe, Der Freischütz 2009
Recently: Odabella, Attila, Washington
Concert Opera; Leonora, Fidelio, Utah
Opera; Elisabetta, Roberto Devereux, Maria Stuarda,
The Minnesota Opera; Norma, Norma, Tulsa Opera Upcoming: Abagaille, Nabucco, The Minnesota Opera;
Turandot, Turandot, Sarasota Opera; Ellen Orford, Peter
Grimes, Des Moines Metro Opera
Sponsors: Michael and Barbara Gartner
Zulimar López-Hernández
Soprano, San Juan, Puerto Rico
Zerlina, Don Giovanni
DMMO History: Norina, Don
Pasquale 2011
Recently: Despina (cover), Così fan
tutte, New York City Opera; Juliette,
Roméo et Juliette, Knoxville Opera;
Nannetta, Falstaff, Mannes Opera; Susanna, Le nozze di Figaro, Annapolis Opera
Upcoming: Musetta, La Bohéme, Opera Grand
Rapids; Rosaura, Los Gavilanes, Fundación de Zarzuela,
Operetta de Puerto Rico; Susanna, The Marriage of
Figaro, Dayton Opera
Sponsors: Daniel and Mary Kelly
John Moore
Baritone, Milford, IA
Eugene Onegin, Eugene Onegin
DMMO History: Dr. Malatesta, Don
Pasquale 2011; Figaro, The Barber of
Seville 2009; Papageno, The Magic
Flute 2006; Henry Cuffe, Gloriana
2005; Prince Yamadori, Madama
Butterfly 2002; Apprentice Artist
2002, 2004, 2005
Recently: Donald, Billy Budd, Yamadori, Madama
Butterfly, Metropolitan Opera; Figaro, The Barber of
Seville, Welsh National Opera
Upcoming: Count Almaviva, Le nozze di Figaro,
Glyndebourne Opera; Simonetto, Francesca da Rimini,
Curio, Giulio Cesare, Metropolitan Opera
Sponsors: Nancy and Bill Main
Elise Quagliata
Mezzo-Soprano, New York, NY
Olga, Eugene Onegin
DMMO History: Nicklausse/The Muse,
The Tales of Hoffmann 2005; OPERA
Iowa 2004; Apprentice Artist 2004, 2005
Recently: Suzuki, Madama Butterfly,
Jo, Little Women, Pensacola Opera;
Sister Helen, Dead Man Walking, Union
Avenue Opera; Alexander Nevsky, Jacksonville
Symphony Orchestra; Soloist, Jake Heggie The
Breaking Waves, The Deepest Desire
Upcoming: Fricka, Das Rheingold, Union Avenue Opera;
Mrs. Lovett, Sweeney Todd, Pensacola Opera; Emilia,
Otello, Jacksonville Symphony Orchestra; Soloist,
Verdi Requiem, Orquestra Filarmônica de Minas Gerais
Sponsors: John D. Ramsey/Ramsey Family Foundation
Michael Mayes
Baritone, Conroe, TX
Don Giovanni, Don Giovanni
DMMO History: Marcello, La Bohème
2011; Count Almaviva, The Marriage
of Figaro 2010
Recently: Papageno, Die Zauberflöte,
Michigan Opera Theater; Valentin, Faust,
Opera Birmingham; Escamillo, Carmen,
Kentucky Opera; Silvio, I Pagliacci, Nashville Opera;
Joseph de Rocher, Dead Man Walking, Tulsa Opera;
Kinesias, Lysistrata, Ft. Worth Opera
Upcoming: Baritone, Baden-Baden 1927, Gotham
Chamber Opera; Older Thompson, Glory Denied, Fort Worth
Opera; Stubb, Moby Dick, Washington National Opera
Sponsors: John and Janis Ruan III/John Ruan Foundation
Sarah Jane McMahon
Soprano, New Orleans, LA
Lisette, La Rondine
DMMO History: Susanna, The
Marriage of Figaro 2010, Abigail
Williams, The Crucible 2003; Paquette,
Candide 2002; Apprentice Artist
2002, 2003
Recently: Violetta, La Traviata, Toledo
Opera; Soloist, Carmina Burana, Lincoln Center, Christmas
Concert, San Francisco Symphony, Knoxville: Summer of
1915/Mahler 4, Portland Symphony, Messiah, Jacksonville
Symphony; Pamina, Die Zauberflöte, Opera Grand Rapids;
Fanny, Il Cambiale di Matrimonio, Opera Omaha; Xanthe,
Die Liebe der Danae, Bard SummerScape
Upcoming: Adele, Die Fledermaus, Virginia Opera
Sponsors: Cherie and Bob Shreck
Rod Nelman
Bass, Cuyahoga Falls, OH
Leporello, Don Giovanni
DMMO History: Don Pasquale, Don Pasquale 2011; Oscar Hubbard,
Regina 2008
Recently: Dr. Dulcamara, L’elisir
d’amore, Utah Opera; Dr. Bartolo, The
Marriage of Figaro, Sacristan, Tosca,
Fort Worth Opera; Sacristan, Tosca, Bartolo, Il barbiere
di Siviglia, Henry Kissinger (cover), Nixon in China,
Metropolitan Opera; Don Pasquale, Don Pasquale,
North Shore Music Festival
Upcoming: Judge Turpin, Sweeney Todd, Nevada
Opera; Sulpice, The Daughter of the Regiment, Fort
Worth Opera; Dr. Bartolo (cover), Le nozze di Figaro,
The Barber of Seville, Metropolitan Opera
Sponsors: Fred and Charlotte Hubbell
Marjorie Owens
Soprano, Portsmouth, VA
Donna Anna, Don Giovanni
DMMO Debut
Recently: Elsa, Lohengrin, Amelia,
Un Ballo in Maschera, Dorotka, Schwanda
Der Dudelsackpfeifer, Donna Anna, Don
Giovanni, Sächsische Staatsoper Dresden
Upcoming: Elisabetta, Don Carlo,
Cio-Cio San, Madama Butterfly, Senta, Der fliegende
Holländer, Sächsische Staatsoper Dresden; Prima
Donna/Ariadne, Ariadne auf Naxos, Fort Worth Opera
Sponsor: Krumm Family Foundation
Harold Meers
Tenor, Bloomington, IL
Ruggero Lastouc, La Rondine
DMMO History: Rodolfo, La Bohème
2011; Jaquino, Fidelio 1998; Apprentice
Artist 1996
Recently: Don José, Carmen,
Opera Charleston; Rodolfo, La
Bohème, Sarasota Opera; Pinkerton,
Madama Butterfly, Helena Symphony Orchestra;
Soloist, Beethoven Symphony No.9, Charleston
Symphony Orchestra, Sarasota Orchestra; Narraboth,
Salome, Cleveland Opera
Upcoming: Soloist, Rachmaninov The Bells, Madison
Symphony Orchestra; Verdi Requiem, Charleston
Symphony Orchestra; Radames, Aïda, Opera Charleston
Sponsors: Jim and Lois Berens
Matthew Plenk
Tenor, Lindenhurst, NY
Don Ottavio, Don Giovanni
DMMO Debut
Recently: Janek, The Makropulos Case,
Arturo, Lucia di Lammermoor, Metropolitan
Opera; Nanki-Poo, The Mikado, Virginia
Opera; Ferrando, Così fan tutte, Lyric
Opera of Kansas City, Atlanta Opera
Upcoming: Various roles, Metropolitan Opera, Los
Angeles Philharmonic, Chamber Music Society of
Lincoln Center, Opera Theatre of St. Louis
Sponsors: Steve and Stephanie DeVolder
Christine Seitz
Soprano, Columbia, MO
Madame Larina, Eugene Onegin
Apprentice Artist Program Staff
DMMO History: Assistant Stage
Director, Dialogues of the Carmelites
2011, Susannah 2010; Apprentice
Artist Program 2006-present
Recently: Stage Director, La
Cenerentola, The Merry Widow, Gianni Schicchi,
Show-Me Opera, University of Missouri
Upcoming: Stage Director, Hänsel und Gretel, ShowMe Opera, University of Missouri
Sponsors: John and Louise Grzybowski
Jane Shaulis
Mezzo-Soprano, New York, NY
Filippyevna, Eugene Onegin
DMMO Debut
Recently: Filippyevna, Eugene Onegin,
Madison Opera; Poklizecka, The
Makropulos Case, Metropolitan Opera
Upcoming: Mere Jeanne, Dialogues
of the Carmelites, Ghost of Cassandra,
Les Troyens, Metropolitan Opera
Sponsors: Mary and Stanley Seidler/The Seidler Foundation
Stefan Szkafarowsky
Bass, Yonkers, NY
The Commendatore, Don Giovanni
Prince Gremin, Eugene Onegin
DMMO history: Cuno, Der Freischütz,
Don Basilio, The Barber of Seville 2009
Recently: Bonz, Madama Butterfly,
Metropolitan Opera; Sacristan, Tosca,
Savonlinna Opera Festival, Finland
Upcoming: Soloist, Haydn St. Nicholas Mass, Lincoln
Center; Bonz, Madama Butterfly, Los Angeles Opera
Sponsors: Bernard and Dana Leman, Jo Ghrist
John Viscardi
Tenor, Manhasset, NY
Prunier, La Rondine
DMMO Debut
Recently: Lensky, Eugene Onegin,
Opera Naples; Pelléas, Pelléas et
Mélisande, Don Ottavio, Don Giovanni,
Fenton, Falstaff, Academy of Vocal Arts;
Dancing Master, Lamp Lighter, Manon
Lescaut, Opera Company of Philadelphia
Upcoming: Count Almaviva, Il barbiere di Siviglia,
Academy of Vocal Arts
Sponsors: Bruce Hughes and Randall Hamilton
51
52
Music, Directing
and Design staff
Andrew Boyce
Scenic Designer, Brooklyn, NY
Don Giovanni
DMMO Debut
Recently: Stage Designer, Black Pearl
Sings, Portland Center Stage, Now Circa
Then, Theatreworks, A Steady Rain, Marin
Theatre Company, Man of La Mancha,
Twelfth Night, Westport Country
Playhouse, Dreams of Flying, Atlantic Theatre Company
Upcoming: Scenic Designer, The Blue Deep, Williamstown,
Circle Mirror Transformation, Marin Theatre Company,
A Midsummer Night’s Dream, Syracuse Stage
Sponsors: Nixon Lauridsen/Lauridsen Family Trust
R. Keith Brumley
Scenic Designer, Kansas City, MO
Eugene Onegin, La Rondine
DMMO History: Resident Designer
for 11 seasons and over 19 productions,
including: Tosca 2009; Carmen 2007;
The Magic Flute 2006; Turandot 2002;
Street Scene 1999
Recently: Resident Scenic Designer,
Lyric Opera of Kansas City
Upcoming: Set Designer, The Flying Dutchman, The
Mikado, Lyric Opera of Kansas City
Sponsors: Bryan Hall and Pat Barry
Octavio Cardenas
Stage Director, Guadalajara, Mexico
Assistant Stage Director, Eugene Onegin
Apprentice Artist Program 2011
Recently: Stage Director, The Giver,
Minnesota Opera; Susannah, Loyola
Opera Theater; Minnesota Opera
Cabaret; Opera Scenes, Chautauqua Opera; Assistant
Director, The Minnesota Opera
Upcoming: Assistant Director, Silent Night, Opera Company
of Philadelphia; Director of Opera, Baylor University
Sponsors: Chuck and Marilyn Farr
Richard Cordova
Music Coach, New York, NY
DMMO History: Assistant Conductor,
The Barber of Seville 2009, Regina
2008, Otello 2007, Rigoletto 2006;
Apprentice Artist Program 1988,
2006-present
Recently: Conductor, The Wandering
Scholar/Savitri, Mitridate, Re di Ponto, Little Opera
Theatre of New York; Associate Conductor, Porgy and
Bess, European Tour, New York Harlem Productions;
Assistant Conductor, Sarasota Opera; Conductor (cover
matinees), Opera North, Sarasota Opera
Upcoming: Pianist/Vocal Coach, Land of Enchantment
Opera Institute
Sponsors: Joan Kuyper Farver/The Kuyper Foundation
John de los Santos
Stage Director/Choreographer,
San Antonio, TX
Assistant Stage Director, La Rondine
DMMO Debut
Recently: Stage Director, The Mikado,
Fort Worth Opera, Brigadoon, Seagle
Music Colony; Choreographer, Spring
Awakening, WaterTower Theatre
Upcoming: Choreographer, Smokey Joe’s Cafe, WaterTower
Theatre; Stage Director, Sweeney Todd, Level Ground Arts,
Hello Again, Uptown Players, Cendrillon, Kentucky Opera
Sponsor: Mr. and Mrs. J. C. Brenton
Elden Little
Music Coach, Austin, TX
Rehearsal Pianist, Don Giovanni
DMMO History: Rehearsal Pianist
2006-present; Apprentice Artist
Program 2006-present
Recently: Rehearsal Pianist, L’italiana
in Algeri, Flight, The Magic Flute,
Turandot, Austin Lyric Opera, Lucia di Lammermoor,
Carmen, Opera Birmingham, Carmen, Kentucky Opera
Upcoming: Rehearsal Pianist, Pagliacci, Le nozze di
Figaro, Faust, Don Carlo, Austin Lyric Opera, The Magic
Flute, Opera Birmingham
Sponsors: Sam and Lori Kalainov
Michael Sakir
Music Coach, Boston, MA
Associate Conductor, La Rondine,
Don Giovanni
DMMO History: Associate Conductor,
Apprentice Artists Program 2010-present;
Music Director, OPERA Iowa 2010
Recently: Assistant Conductor,
Madama Butterfly, Carmen, Otello, Sarasota Opera
Upcoming: Assistant Conductor, Rigoletto, Sarasota Opera;
Music Director, Dead Man Walking, Boston Opera Collaborative
Sponsors: Sunnie Richer and Roger Brooks
William Shomos
Elsen Associates, Wig and
Makeup Design Directed by Dennis Bergevin and Anne
Ford-Coates; Represented by Sarah
Hatten (pictured) and Brittany Crinson
DMMO History: Wig and makeup
design since 1995 Recently: Wig Master and Makeup
Designer, Lyric Opera of Chicago;
Designer, Michigan Opera Theatre, Opera Columbus;
Assistant Designer, Central City Opera, Los Angeles Opera
Sponsors: Heath and Kim Hinkhouse, LeRoy and
Carol Johnson
Robin McGee
Costume Designer, Highland, IL
Costume Designer, La Rondine
Costume Coordinator, Don Giovanni,
Eugene Onegin
DMMO History: Costume Designer,
Susannah 2010; Coordinator 2010, 2011
Recently: Costume Designer, My
One and Only, Goodspeed Opera
House, Ringling Brothers and Barnum and Bailey Clowns
Upcoming: Costume Designer, Joseph and the
Amazing Technicolor Dreamcoat, Muny Opera
Sponsors: Pat Brown, Judy and Phil Watson
Stage Director, Lincoln, NE
Director, Tales of Hoffmann 2005,
La Cenerentola 2004, Faust 2003;
Apprentice Artist Program 2003-2005,
2011; Stage Director, OPERA Iowa
2009, 2006; Apprentice Artist 1988
Recently: Stage Director, The Coronation of Poppea,
The Marriage of Figaro, University of Nebraska-Lincoln
Upcoming: Stage Director, O Pioneers!, University of
Nebraska-Lincoln
Sponsors: Joan Burke and Barbara Graham
Michael Spassov
Tessa Hartle
Music Coach, Pittsburgh, PA
Rehearsal Pianist, La Rondine
DMMO Debut
Recently: Rehearsal Pianist/Coach,
Otello, Carmen, Sarasota Opera, The
Filthy Habit, Before Breakfast, UrbanArias,
La Cenerentola, Opera North
Upcoming: Rehearsal Pianist, Les pêcheurs de perles,
Die Fledermaus, Virginia Opera, Turandot, Un giorno di
regno, Sarasota Opera Sponsor: Paul J. Meginnis II
Allen Perriello
Pianist/Music Coach, Gibsonia, PA
Rehearsal Pianist, La Rondine,
Eugene Onegin
DMMO History: Apprentice Artist
Program 2011
Recently: Pianist/Coach, Madama
Butterfly, Seattle Opera, Alek Shrader
recital, Harriman-Jewell Series; Seattle Opera Young
Artists Program faculty
Upcoming: Pianist/Coach, Der fliegende Holländer,
Madama Butterfly, Boston Lyric Opera, David Lomeli recital,
University of California; Head of Music, Arizona Opera
Sponsor: Marylee Lankimer and Betty Schiller
Barry Steele
Lisa Hasson
Music Coach, Cincinnati, OH
Co-Director, Apprentice Artist Program
Chorus Master, La Rondine,
Don Giovanni, Eugene Onegin
DMMO History: Co-Director,
Apprentice Artist Program 2010present; Chorus Master 2007present; Music Coach, Apprentice Artist Program 20042009; Rehearsal Pianist 2004-2005
Recently: Chorus Master/Principal Coach, Carmen,
The Marriage of Figaro, The Merry Widow, Kentucky
Opera; Coach/Repetiteur, Enemies, A Love Story,
Kentucky Opera/University of Louisville; Music Director/
Coach, The Magic Flute Redux, Cincinnati Opera; Guest
Coach, University of Kentucky, Indianapolis Opera
Upcoming: Chorus Master/Principal Coach, Tosca,
Cendrillon, Don Giovanni, The Prodigal Son, Kentucky Opera Sponsors: Dr. Craig and Kimberly Shadur
Music Coach, Atlanta, GA
Associate Conductor, Eugene Onegin
DMMO History: Associate Conductor,
Don Pasquale 2011, Apprentice Artist
Program 2011
Recently: Music Staff/Coach,
Caramoor Festival, Washington
National Opera, Canadian Opera Company; Conductor,
Pineda Lyric Opera; Assistant Conductor, Sarasota Opera
Upcoming: Principal Coach/Assistant Conductor,
Atlanta Opera; Artistic Administrator and Chorusmaster,
Edmonton Opera
Sponsors: Josh and Susie Kimelman, Melanie Porter
Brian Robertson
Stage Combat Instructor, Stage
Director, Cincinnati, OH
DMMO History: Stage Combat Director,
The Tales of Hoffmann, Gloriana 2005,
Otello, Carmen 2008, Macbeth 2010,
Apprentice Artist Program 2008, 2010
Recently: Stage Director, A Flowering
Tree, The Magic Flute Redux, Cincinnati Opera, Lucia di
Lammermoor, Sarasota Opera, St. Nicholas, New
Edgecliff Theatre
Sponsor: Winifred Kelley
Andrew Ryker
Stage Director, Okoboji, IA
Assistant Stage Director, Don Giovanni
Director, La Bohème 2011, Macbeth 2010;
Apprentice Artist Program 2010-present
Recently: Voice faculty, Stage Director,
Into the Woods, Drake University
Upcoming: Drake University voice faculty
Sponsors: Wendy and Lou Waugaman
Resident Lighting Designer, Brooklyn, NY
Don Giovanni, La Rondine,
Eugene Onegin
DMMO History: Lighting Designer,
2004-present
Recently: Production Designer,
Madison Opera, Syracuse Opera;
Lighting and Video Designer, El Paso
Opera, Nashville Opera and several NYC dance companies
Upcoming: Production Designer, Sweeney Todd,
Syracuse Opera, Tosca, El Paso Opera, Transit II, ODC
Dance, La fanciulla del West, Mobile Opera
Sponsors: Marshall and Judy Flapan
Tatiana Vassilieva Music Coach, St. Petersburg, Russia
Rehearsal Pianist, Language Coach,
Eugene Onegin
DMMO Debut
Recently: Young Artist Coach, Roméo
et Juliette, La Rondine, Don Giovanni,
Cyrano, Florida Grand Opera; Coaching
Fellow, Les contes d’Hoffmann, Wolf Trap Opera Company;
Vocal Coach, Cendrillon, Florida International University
Upcoming: Freelance Vocal Coach, New York City
Sponsor: Mrs. Helen Hubbell
53
54
Ballet Des Moines
The 40th Anniversary Season marks
Des Moines Metro Opera’s most recent
collaboration with another central Iowa
performing arts organization. We are
proud to welcome Ballet Des Moines to
the mainstage for our new production of
Eugene Onegin.
This collaboration allows Ballet Des Moines
to further their efforts to prolong the
engagement period for professional dancers
in Iowa and we are pleased to be a part of
that initiative.
Serkan Usta
Choreographer, Istanbul, Turkey
Choreographer, Ballet, Eugene Onegin
DMMO Debut
Recently: Artistic Director, Ballet Des
Moines; Co-Choreographer, The Wizard
of Oz, The Nutcracker, Ballet Des
Moines; Producer, Alice in Wonderland,
Ballet Des Moines/Salt Creek Ballet
Upcoming: Artistic Director and Choreographer, Ballet
Des Moines
Maria Beacom
Dancer, Des Moines, IA
Ballet, Eugene Onegin
DMMO Debut
Recently: Clara, The Nutcracker,
Corps/Croquet, Alice in Wonderland,
Ballet Des Moines
Upcoming: The Nutcracker, Ballet
Des Moines
Mary McCormick
Dancer, West Des Moines, IA
DMMO Debut
Recently: Spanish/Snow, The
Nutcracker, Monkey/Crow, The
Wizard of Oz, Ballet Des Moines
Upcoming: The Nutcracker, Ballet
Des Moines
Annemarie McCoy
Dancer, West Des Moines, IA
DMMO Debut
Recently: Monkey/Crow/Tree, The
Wizard of Oz, Clara/Snow/Soldier,
The Nutcracker, Ballet Des Moines;
California Guitar Trio performance,
Catalyst Arts Academy
Upcoming: The Nutcracker, Ballet Des Moines
Christophor Moulton
Dancer, Colorado Springs, CO
DMMO Debut
Recently: Siegfried, Swan Lake,
Cavalier, The Nutcracker, Harid
Conservatory; Toreador, Don Quixote,
God of the Wine, Beauty and the
Beast, The Old Man, Eventually,
Colorado Ballet Studio Company
Upcoming: Sleeping Beauty, The Nutcracker, The
Rite of Spring, Lite/The Holocaust & Humanity Project,
Colorado Ballet
Luis Valdes
Dancer, Matanzas, Cuba
DMMO Debut
Recently: Dancer, National Ballet of
Cuba, Cincinnati Ballet; Espada, Don
Quixote, Colorado Ballet
Upcoming: Sleeping Beauty, The
Nutcracker, The Rite of Spring, Lite/
The Holocaust & Humanity Project, Colorado Ballet
Kevin Wilson
Dancer, Durango, CO
DMMO Debut
Recently: Bruch Violin Concerto
No. 1, A Midsummer Night’s Dream,
Colorado Ballet
Upcoming: Sleeping Beauty, The
Nutcracker, The Rite of Spring, Lite/
The Holocaust & Humanity Project, Colorado Ballet
40th Anniversary Season Festival Staff
Artistic
Production
Conductors
Michael Borowitz
David Neely
Lisa Kelly
Stage Directors
Dugg McDonough
Kristine McIntyre
Tim Ocel
Associate Conductors
Michael Sakir
Michael Spassov
Assistant Stage Directors
Octavio Cardenas
John de los santos
Andrew Ryker
Scenic Designers
AnDrew Boyce
R. Keith Brumley
Lighting Designer
Barry Steele
Costume Designer
Robin McGee
Wig and Makeup Designer
Sarah Hatten
Chorus Master
Lisa Hasson
Stage Combat Director
Brian Robertson
Apprentice Artist
Program
Co-Directors
Lisa Hasson
Dugg McDonough
Stage Directors
Octavio Cardenas
John de los Santos
Dugg McDonough
Andrew Ryker
Christine Seitz
Bill Shomos
Music Coaches
Richard Cordova
Tessa Hartle
Lisa Hasson
Elden Little
Allen Perriello
Michael Spassov
Tatiana Vassilieva
Don Giovanni Stage Manager
Liam Roche
Assistant Stage Managers
Brian August
Jahana Azodi
Sadie DeSantis
Stage Management Interns
Carrington Konow
Alicia Suschena
Technical Director
Kenneth Blinn
Assistant Properties Master
Corrie Benton
Properties Head of Deck
Kristin Campbell
Properties Artisan
Craig Harlow
Wardrobe Supervisor
Whitney Vaughan
Assistant Wardrobe Supervisor
Danielle Lamb
Costume Crew
Shelby Hendryx
Lanatia Nalley
Assistant Technical Director
Tannis Boyajian
Wig and Makeup Assistants
Brittany Crinson
Katrinka Kocourek
Head of Deck
Jessica Rechin
Wig and Makeup Crew
Jocelen Barnett
Head of Fly
Paul Arebalo
Assistant to the Production Manager
Bailey Otto
Master Carpenter
Elizabeth Broomall
Office and Theater
Stage Carpenters
Derek Blanco
Ashley Fant
Matthew Montville
Stage Crew Interns
Jacob Anderson
Robert Klein
Jessica Kray
Cassandra Ring
Timothy Williams
Kok thong Wong
Paint Charge
Lauren Duffy
Assistant Paint Charge
Katherine Clanton
Painting Intern
Gina Smothers
Assistant Lighting Designer
Nate Wheatley
Master Electrician
Brian Hoehne
Electricians
Mary Hosford
Lisa LePoidevin
Brian Shaw
Properties Master
Adam Crinson
Assistant to the Management
Michael Patterson
Assistant to the Artistic Director
Sam Carroll
Artistic and Administrative Intern
Daniel Jacobsen
Mainstage Orchestra Librarian
Sara Baguyos
Box Office Interns
MichaelLa Calzaretta
Kelly Huisinga
Meghan Kasanders
House Staff Interns
Wade Adams
Zack Brown
Lucas Murga
Operations Consultant
William Farlow
Auxiliary Chorus
Scott Denhart
Shawn McAninch
Chris Wilde
Daryl Becicka
Ben Blystone
Katherine Beane
55
56
Orchestra
The Des Moines Metro Opera Festival Orchestra
is comprised of musicians from all parts of
the continent. Some are school and private
music instructors. Some perform with other
opera companies. Some are tenured, and
some are making their company debut. All are
from professional orchestras and symphonies,
however, and all are an intrinsic part of what
makes Des Moines Metro Opera unique and its
Festival among the best in the nation.
Most of the orchestra positions are tenured. For
all open positions, the audition process begins in
November with specific music mailed out to
applicants, who record the excerpts and send
them back to the Des Moines Metro Opera office
for consideration. The Orchestra Manager, Artistic
Director, and involved principal chairs for each
section listen to each recording—the total
numbering in the hundreds—before making the
final selection for each position.
Members of the festival orchestra are the last
to arrive for the season, after the technical
crew, apprentices and principal artists. Their
first rehearsal is held in the lobby at the Blank
Performing Arts Center—for some, just hours
after arriving in Indianola. The next two weeks
will bring three different operas, two different
conductors, and numerous hours of rehearsals
as the orchestra goes from lobby to pit and practice
to perfection, culminating in that single, breathless
moment on opening night when the house
lights go down and the conductor’s baton rises.
Members of the
festival orchestra
accompany the
Apprentice Artists
during the 2011 Stars
of Tomorrow concert.
Photo by Jen Golay
When not in the pit of the Blank Performing Arts
Center, members of the orchestra can be found
on stage at Sheslow Auditorium on the Drake
University campus during the Stars of Tomorrow
Concert with the Des Moines Metro Opera
Apprentice Artist Program participants. Some
members also volunteer their time and talent
to participate in the Sunday evening Chamber
Music Concerts, an informal two-concert series
consisting of solos, duets and ensembles selected
by orchestra members. These concerts are free
and open to the public and will be held at 7:30
pm on July 1 and July 8 in the Lekberg Recital
Hall on the Simpson College campus.
Though Des Moines Metro Opera is known
primarily for its opera, the company is proud to
boast of 40 years of excellence from its orchestra.
The orchestra is one of the fundamental elements
of the company and will continue to be for many
years to come. n
Violin
Clarinet
Concertmaster
Hiromi Ito Fort Wayne, IN
Principal Ralph Skiano Richmond, VA *
Randall Cunningham Liberty, MO
E-Chen Hsu Thunder Bay, ON, Canada *
Assistant Concertmaster
Debra Akerlund Aberdeen, WA
Principal Second
Alice E. Bodnar Clive, IA
Susan French Long Island City, NY
Désirée Cedeño-Suárez Arvada, CO
Ellen Chamberlain Tucson, AZ
John Helmich Urbandale, IA *
Juan C. Jaramillo Pittsburgh, PA *
Nonoko Okada Greensboro, NC
Dawn Posey Pittsburgh, PA
Edward Pulgar Knoxville, TN
Mary Pulgar Knoxville, TN *
Jung-Min Shin Evansville, IN *
Caroline Slack Kansas City, MO
Pei-Ju WU Fort Worth, TX
Viola
Principal Wanda B. Lydon San Antonio, TX
Linda H. Benoit Indianola, IA
Charles Miranda Des Moines, IA *
Christine Prince Victoria, BC, Canada
Cello
Principal Andrew Dunn Birmingham, AL
Whitney Allen Giller Iowa City, IA
Mary Del Gobbo Birmingham, AL *
Mary Pshonik West Des Moines, IA *
George Work Des Moines, IA *
Bass
Principal Jeremy C. Baguyos Omaha, NE *
John W. Tuck Evanston, IL
Flute
Principal Bruce Bodden Spokane, WA
Kimberly Helton Des Moines, IA
Sophia Tegart Portland, OR
Bass Clarinet
E-Chen Hsu Thunder Bay, ON, Canada
Bassoon
Principal Rudi Heinrich Cleveland Heights, OH *
MattHew Lano Omaha, NE *
Horn
Principal Johanna Lundy Tucson, AZ *
Michael Daly Savannah, GA *
Thomas Hundemer Shreveport, LA
Michael Wilson Ottumwa, IA
Trumpet/Cornet
Principal David Hunsicker St. Petersburg, FL
Daniel Kassteen Louisville, KY
Derek Stratton Pella, IA
Trombone
Principal Timothy Howe Columbia, MO *
Michael Short Des Moines, IA
David Stuart Ames, IA *
Bass trombone
Sean F. McGhee Cincinnati, OH *
Timpani
Principal Andrew P. Simco Joliet, IL
Percussion
Principal Mark Dorr West Des Moines, IA
Joel Feldman Adel, IA
Harp
Principal Nuiko Wadden Brooklyn, NY
Piccolo
Kimberly Helton Des Moines, IA +
Mandolin
JeffRey Lind West Des Moines, IA
Oboe
Principal Lise Glaser Tulsa, OK *
Kevin Schilling Ames, IA
Leonid Sirotkin Muncie, IN *
English Horn
Leonid Sirotkin Muncie, IN
Pianoforte
Allen Periello Gibsonia, PA
Celesta
Mark Dorr West Des Moines, IA
Allen Periello Gibsonia, PA
* Member of a Don Giovanni banda.
+
Member of a La Rondine banda.
57
ART, CRAFTS, AND VINTAGE FINDS
HELD AT THE DES MOINES SOCIAL CLUB, IN THE
KIRKWOOD BUILDING, CORNER OF 4TH & WALNUT
MAY
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2012–2013
75TH ANNIVERSARY
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Explore the Arts with Drake University
pack your bags today!
2012-2013 Performing Arts Series
See the Performances
YOU Want and Save!
Drake University presents an array of music, art and theater events for the
community throughout the year, including the events highlighted below.
Sandra Louise Dyas
Featuring photography by the Iowa City-based artist
September 7–October 12
Opening Reception: Friday, September 7, 5–7 p.m.
Anderson Gallery, Harmon Fine Arts Center
Open Tuesday through Sunday from noon to 4 p.m.; Thursday until 8 p.m.
Anything Goes
Music and lyrics by Cole Porter
November 8–11
Performing Arts Hall, Harmon Fine Arts Center
Drake Symphony Orchestra
October 9 and December 4 at 7:30 p.m.
Sheslow Auditorium
Drake Opera Theatre
May 3–4, 2013 at 7:30 p.m.
Sheslow Auditorium
An Evening with
Branford Marsalis
For details, visit www.drake.edu/calendar or call the Fine Arts Box Office at 515-271-3841.
Pick 3 or more performances and receive
the subscriber ticket discount and benefits.
Friends of Drake Arts is a member organization that supports the rich
tradition of fine arts programs at Drake. Visit www.drake.edu/friends
to learn more or become a member.
Renew your Series or
Subscribe for the First Time Today!
BROADWAY
West Side Story Feb. 4
Shrek The Musical Feb. 13
Monty Python’s Spamalot Mar. 5
Dreamgirls Mar. 13
Blue Man Group Mar. 25 & 26
CLASSICAL
National Symphony Orchestra of Cuba Oct. 18
China National Symphony Orchestra Mar. 2
DANCE
Ballet Folklorico de Mexico Oct. 10
JAZZ
An Evening with Branford Marsalis Nov. 11
FAMILY
Masters of Illusion – Live! Sept. 20
Vienna Boys Choir Nov. 14
Imago Theater’s ZooZoo Feb. 3
TRACES Mar. 3
THEATRE
Pride & Prejudice Nov. 8
Neil Simon’s Biloxi Blues Feb. 15
VARIETY
Voca People Feb. 21
Arrival – The Music of ABBA Apr. 3
California & Montreal Guitar Trios Apr. 18
HOLIDAY
Lorie Line & Her Fab Five Nov. 18
Dailey & Vincent Bluegrass Christmas Dec. 11
View the entire series and download an order form at www.center.iastate.edu
VIENNA
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China National Symphony Orchestra
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Visit the boutique counter in the theater
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CIVIC MUSIC
ASSOCIATION
• T I C K ETS O N S A L E N OW •
201 2/ 13 SEASON
SEPTEMBER 2012 - APRIL 2013
CI V I C M US I C.ORG
All concerts are held in Sheslow Auditorium, Drake University.
6:45 pm pre-concert talk or presentation. 7:30 pm curtain.
• 9.21.12 •
• 10.12.12 •
• 12.8.12 •
• 2.8.13 •
• 3.2.13 •
• 4.6.13•
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Comprehensive Eye Care
Since 1965
Thorough Eye Exams
Wide Selection of Frames
Contact Lenses
We accept most
insurance plans.
Indianola: 961-5305
Norwalk: 981-0224
Carlisle: 989-0889
Dr. Craig Winjum
Dr. Mike O’Meara
Dr. Jon Anderson
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est ablished 1883
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66
represented by the emerging artists—who have
achieved academic, as well as performing
success. Most have completed graduate studies
at prestigious national and/or international
institutions including Rice University, Cincinnati
College Conservatory of Music, the Juilliard School,
Manhattan School of Music, the San Francisco
Conservatory, New England Conservatory,
University of Wisconsin-Madison and Louisiana
State University. The class is evenly split between
men and women. The average age of the
apprentices is 26. There are 12 sopranos, eight
mezzo-sopranos, nine tenors, seven baritones,
three bass-baritones and one bass.
Life Blood of
the Company
For 38 years Des Moines Metro
Opera has trained and tempered
opera’s emerging singers through
its Apprentice Artist Program
The program and its participants are essential
to the company’s summer festival model and
to every season’s success.
The apprentice artists participate in a seven-week
training regiment designed to provide the skills
needed to bridge the gap between academic study
and a professional career. The schedule is intense—
filled with rehearsals, specialized training and
coaching sessions, concerts and scene recitals.
Many graduates liken the experience to an entire
semester or year of education distilled into seven
weeks. Class topics include acting for singers,
aria and art song interpretation, audition
techniques, diction and languages, life in the
business, stage combat and vocal wellness.
Presenting Sponsor
additional support from
The W.T. and Edna M. Dahl Trust
The Paul’s Foundation
The Weathertop Foundation
Stage Director Octavio
Cardenas gives direction
to apprentice artists
Celeste Fraser and
Alexander Elliott during a
scene from Herrmann’s
Wuthering Heights.
When Artistic Director Michael Egel welcomed
patrons to the season’s first performance by the
2012 participants in Des Moines Metro Opera’s
Apprentice Artist Program, there was applause.
When he showed them boxes of nearly 1,000
applications that were reduced to the 800
auditions conducted to select the 40 singers for
this year’s program, there was an audible gasp.
Both reactions are appropriate. The company’s
apprentice artist program is highly regarded in
the industry and its reach, quality and caliber are
truly amazing. The program and its participants
are essential to the company’s summer festival
model and to every season’s success. Likewise,
alumni of the program use their experience at
Des Moines Metro Opera’s summer festival to
further their careers in the performing arts or in
other professional endeavors.
This year’s apprentices come from 19 states and
from three countries. Iowa, Texas and Ohio are
home to four apprentices each; Minnesota,
California and Illinois all claim three. The United
States, China and Greece are the countries
The program’s long-running success is directly tied
to the experience and dedication of its teaching
team. Program co-directors Dugg McDonough
and Lisa Hasson lead twelve professional coaches
and stage directors—each distinguished in their
roles at other opera companies, university
opera departments and/or as independent
contractors. (See the staff profiles on pages 5253.) Many of these professionals return to the
program year after year. McDonough is in his
20th year, Hasson in her eighth on staff and her
third as co-director. They both cite the focus on
performing, the mentoring of emerging talent
and Egel’s leadership as primary reasons for
their dedication to and tenure in the program.
The founding vision for the program continues
to be relevant today. “Robert Larsen always said,
‘We need more stages,’” recalls McDonough.
Thus, a primary distinction of the program is
the large amount of time participants spend
performing. Some apprentice artists have
comprimario roles and/or cover principal
67
68
roles in the company’s mainstage operas. The
artists perform at numerous, free-to-the-public
scenes events throughout the festival season.
All perform as choristers in the season’s operas,
giving the company solo-quality voices for its
choruses. This is a significant distinction for Des
Moines Metro Opera, as many opera companies
rely on amateur talent for their chorus positions.
The apprentice artists
in rehearsal for the
Eugene Onegin chorus.
Now in its 38th year, the program has produced more
than 1,150 graduates—many of whom have gone on to
successful careers in major opera houses around the world.
“The apprentices have had years of classroom
work and theory,” says Hasson, “We focus on why
they want to sing as professionals.” This strategy
is working. Now in its 38th year, the program has
produced more than 1,150 graduates—many of
whom have gone on to successful careers in
major opera houses around the world. Alumni
also return to star on our mainstage; this season’s
principal artists and former apprentices are Jan
Cornelius, John Moore, Harold Meers, Sarah
Jane McMahon and Elise Quagliata.
Apprentice artists
Gregory Jebaily
and Chelsea Basler
share a laugh
with music coach
Michael Spassov
(seated) during a
scene rehearsal.
John Moore credits the program as being efficient,
intense, and rewarding. “When you start a career
your focus must be multi-dimensional and Des
Moines Metro Opera gives an artist seven weeks’
worth of opportunities to hone several of those
dimensions,” the Metropolitan Opera singer and
native Iowan says. “A young artist, although busy,
is still treated as an artist and is given the tools to
succeed. The program brings in some of the finest
talent not only in vocalists, but in its coaching
and directing staff. These are the heroes of the
opera world. Not only do they offer the young
artist many insights into musical preparation,
diction, language, and musicality, but they also
are damn fine people and become lifelong
friends and contacts.”
Des Moines Metro Opera’s Apprentice Artist
Program also allows the company to bring its
expertise in apprentice training to the National
Singer Training Forum, which is organized by Opera
America, the national service organization for the
opera industry. The forum is an ongoing series
of discussions and activities focused on critical
issues concerning the training and education of
young American singers. Opera companies and
universities participate in the forum to improve
practices across the field, strengthen mutual
understanding, and encourage collaborations
among a network of singer training professionals.
Isaac Droscha
Baritone, Mason, MI
Crèbillon, La Rondine
DMMO Debut
Recently: Carmina Burana, Michigan
Opera Theatre; The Consul, Opera New
Jersey; Die Fledermaus, University of
Northern Iowa
Chelsea Basler
Stefan Egerstrom
Soprano, San Diego, CA
Magda (cover), La Rondine
DMMO Debut
Recently: La Bohème, Longwood
Opera; Roméo et Juliette, Boston
University; Kismet, Ohio Light Opera
Bass, Brooklyn Center, MN
Prince Gremin (cover), Eugene Onegin
Commendatore (cover), Don Giovanni
DMMO Debut
Recently: L’elisir d’amore, Janiec
Opera Company; Roméo et Juliette,
Seagle Music Colony; The Bartered Bride,
Lawrence University Opera Theatre
Marco Cammarota
Alexander ElliotT
Tenor, Schenectady, NY
Don Ottavio (cover), Don Giovanni
DMMO Debut
Recently: Don Giovanni, The Turn
of the Screw, Cincinnati Conservatory
of Music; Carmen, Crested Butte Music
Festival; George London Foundation
Encouragement Award 2011
Funding the Apprentice Artist Program is a priority
for Des Moines Metro Opera. Of the nearly
$183,000 in annual expense for the program, less
than 20 percent is covered by ticket sales. The
remainder must come from contributed income.
Des Moines Metro Opera is very fortunate to have
patron Frank Brownell support the Apprentice Artist
Program. Brownell’s generous gift of $50,000
helps ensure the long-term vitality and success
of the program and thus, of the company. n
Photos by Jen Golay
40th Anniversary
Season Apprentice
Artists
Trey Costerisan
Baritone, Florence, SC
Eugene Onegin (cover), Eugene Onegin
DMMO history: OPERA Iowa 2012;
Apprentice Artist 2011
Recently: Il barbiere di Siviglia,
A Midsummer Night’s Dream, The
Mikado, Florida State University
Celeste Fraser
Tenor, Bakersfield, CA
Prunier (cover), La Rondine
Monsieur Triquet, Eugene Onegin
DMMO Debut
Recently: Le nozze di Figaro, Aspen
Opera Theatre; The Magic Flute, Center
Stage Opera; L’Egisto, San Francisco
Conservatory
Soprano, Blaine, WA
Tatyana (cover), Eugene Onegin
DMMO History: Apprentice Artist 2011
Recently: Bluebeard’s Castle,
Boston Fringe Festival; Suor Angelica,
University of Wisconsin-Madison
Megan Cullen
Elizabeth Frey
Soprano, Las Cruces, NM
Donna Elvira (cover), Don Giovanni
DMMO Debut
Recently: Turandot, West Bay
Opera; Suor Angelica, San Francisco
Conservatory; Sarasota Opera
Apprentice Artist
Mezzo-Soprano, San Luis Obispo, CA
DMMO Debut
Recently: Cendrillon, Xerxes,
Cleveland Institute of Music; Le nozze
di Figaro, Maryland Opera Society
Ashley Cutright
Cullen Gandy
Mezzo-Soprano, Dallas, TX
Olga (cover), Eugene Onegin
DMMO History: OPERA Iowa 2012,
2011; Apprentice Artist 2011
Recently: Gianni Schicchi, Manhattan
School of Music; Dido and Aeneas,
Southern Methodist University
Tenor, Atlanta, GA
Gobin, La Rondine
Vladimir Lensky (cover), Eugene Onegin
DMMO Debut
Recently: La Cambiale di Matrimonio,
Gianni Schicchi, Juilliard Opera;
Metropolitan Opera National Council
Auditions Regional Finalist 2012
Kristen DiNinno
Gabriel Gargari
Mezzo-Soprano, Pittsburgh, PA
Suzy, La Rondine
DMMO Debut
Recently: Susannah, Florentine
Opera; The Death of Klinghoffer,
Opera Theatre of Saint Louis;
Don Giovanni, Shreveport Opera
Tenor, Bothell, WA
Guillot, Eugene Onegin
DMMO History: OPERA Iowa 2012
Recently: Hansel and Gretel, Opera
Omaha; Madama Butterfly, Phoenix
Opera; La Bohème, Prelude to a
Performance
69
70
40th Anniversary Season
Apprentice Artists
Jeffrey Gates
JonathAn Jurgens
John Allen Nelson
Laura Sauer
Tenor, Gahanna, OH
Ruggero (cover), La Rondine
DMMO Debut
Recently: La Rondine, Prelude
to a Performance; Albert Herring,
Faramondo, Ohio State University
Baritone, St. Paul, MN
Don Giovanni (cover), Don Giovanni
DMMO Debut
Recently: Le nozze di Figaro, Opera
Colorado; Don Giovanni, University of
Missouri-Kansas City; L’elisir d’amore,
Janiec Opera
Mezzo-Soprano, Woodridge, IL
Madame Larina (cover), Eugene Onegin
Recently: Norma, Chautauqua
Opera; Le nozze di Figaro, Il barbiere
di Siviglia, Northwestern University
Jacob Kinderman
Jill Phillips
Andrea Shokery
Baritone, Cleburne, TX
Rambaldo (cover), La Rondine
Recently: The Crucible, The Rake’s
Progress, Peabody Conservatory;
Baritone, Olympia, WA
DMMO Debut
Recently: The Magic Flute,
Westminster Opera Theatre; Eugene
Onegin, Opera Slavica; Così fan
tutte, Westminster Opera Theatre
Cassie Glaeser
Rebecca Krynski
Soprano, Manitowoc, WI
DMMO Debut
Recently: Don Giovanni, University
of Wisconsin-Madison; The Tales of
Hoffmann, Seagle Music Colony; The
Bartered Bride, Lawrence University
Soprano, Charlotte, NC
Donna Anna (cover), Don Giovanni
A Singer, La Rondine
DMMO Debut
Recently: Così fan tutte, Falstaff,
Manhattan School of Music; Così fan
tutte, Seagle Music Colony
Sergio Gonzalez
Jessie Lyons
Mezzo-Soprano, Pocahontas, IA
Filippyevna (cover), Eugene Onegin
DMMO Debut
Recently: Les contes d’Hoffmann,
Wolf Trap Opera Studio; Dialogues of
the Carmelites, Le nozze di Figaro,
Cincinnati Conservatory of Music
Soprano, Gahanna, OH
Recently: L’elisir d’amore, Kentucky
Opera; The Inspector, Wolf Trap
Foundation; Metropolitan Opera
National Council Auditions Regional
Finalist 2011
Karolina Pilou
Dane Thomas
Mezzo-Soprano, Athens, Greece
DMMO Debut
Recently: Falstaff, Aspen Music
Festival; Falstaff, Mannes Opera;
Gianni Schicchi, IVAI in Israel
Tenor, Washington, IL
DMMO Debut
Recently: The Ghosts of Versailles,
The Merry Widow, Northwestern
University; Chautauqua Opera Studio
Artists
Dana Pundt
Vincent Turregano
Tenor, El Paso, TX
DMMO Debut
Recently: Così fan tutte, San
Francisco Conservatory of Music;
Il barbiere di Siviglia, Opera New Jersey;
Alcina, San Francisco Conservatory of
Music Baroque Opera
Soprano, West Des Moines, IA
Bianca, La Rondine
DMMO Debut
Recently: La Bohème, American
Chamber Opera; The Face on the
Ballroom Floor, Chicago College of
Performing Arts; Falstaff, La Musica Lirica
Soprano, Longview, TX
Yvette, La Rondine
DMMO History: OPERA Iowa 2012,
2011, Apprentice Artist 2011
Recently: Das Liebesverbot,
Glimmerglass Opera; L’elisir d’amore,
Cincinnati College Conservatory
Baritone, Alexandria, LA
DMMO Debut
Recently: La Cenerentola, La
Bohème, Louisiana State University;
Il barbiere di Siviglia, Opéra Louisiane;
Calvin Griffin
Lindsay Metzger
Abigail Rethwisch
Xi Wang
Bass-Baritone, Columbus, OH
Leporello (cover), Don Giovanni
Recently: Così fan tutte, Rice
University; The Tales of Hoffmann,
Wolf Trap Studio; Albert Herring,
Ohio State University
Mezzo-Soprano, Mundelein, IL
DMMO Debut
Recently: La Cenerentola, Lyric
Opera of Chicago Outreach;
Il barbiere di Siviglia, Candid Concert
Opera; Gianni Schicchi, DuPage
Opera Theatre
Edward Hanlon
Sara Ann Mitchell
Soprano, Iowa City, IA
DMMO Debut
Recently: Albert Herring, The
Magic Flute, Le Nozze di Figaro,
Simpson College; Metropolitan
Opera National Council Auditions
Regional Finalist 2012
Soprano, Zhengzhou, China
Zerlina (cover), Don Giovanni
DMMO Debut
Recently: Le nozze di Figaro,
Cincinnati Conservatory of Music;
Merola Opera Program 2011
Ian Richardson
Jennifer Zamorano
Bass-Baritone, Port Washington, NY
Masetto, Don Giovanni
DMMO Debut
Recently: La Traviata, Toledo
Opera;Carmen, Glimmerglass Opera;
Rigoletto, Michigan Opera Theatre
Soprano, Tulsa, OK
Lisette (cover), La Rondine
Recently: The Impresario, PORTopera;
HMS Pinafore, Ohio Light Opera;
Gregory Jebaily
Amedee Moore
Eric Sampson
Soprano, Dayton, OH
DMMO Debut
Recently: The Crucible, The Rake’s
Progress, Peabody Opera Theater;
La Cenerentola, Opera North
Tenor, Denville, NJ
Recently: Eugene Onegin, Opera
Manhattan; Lakmé, Tulsa Opera;
La Traviata, Cleveland Opera
Baritone, Florence, SC
Steward, La Rondine
DMMO Debut
Recently: Le nozze di Figaro,
Kentucky Opera; Faust, Dayton
Opera; The Rape of Lucretia,
Cincinnati Conservatory of Music
Bass-Baritone, Coon Rapids, IA
Masetto (cover), Don Giovanni
DMMO Debut
Recently: Le nozze di Figaro, The
Medium, University of TennesseeKnoxville; Roméo et Juliette,
Knoxville Opera
Mezzo-Soprano, Miami, FL
DMMO Debut
Recently: The Consul, Opera New
Jersey; Le nozze di Figaro, Florida
International University
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72
OPERA Iowa plants
the seeds of arts
appreciation throughout
the Midwest
The Bright Foundation
additional Program support from
Bravo Greater Des Moines
Iowa Arts Council, a division of the
Iowa Department of Cultural affairs
National Endowment for the Arts
Anderson Erickson Dairy Co.
CenturyLink
The Coons Foundation
EMC Insurance Companies
MidAmerican Energy Foundation
Prince Tamino (Gabriel
Gargari) and Pamina
(Sara Ann Mitchell)
brave the Trial of Fire
during a performance
of The Magic Flute in
Orange City.
73
OPERA Iowa engages students in opera while
aligning with school curriculum. For many students
and teachers, the experience is totally unique.
Sue Miller, President of Arts and Children Together,
which hosted OPERA Iowa in Marshalltown, Iowa,
says, “The workshops were so beneficial…the
children were totally engaged and educated! I’m
sorry that more of the students weren’t able to
be a part of this.” Tana Ploessl, a kindergarten
teacher from Bellevue, Iowa, says, “It’s great for
students to be exposed to something like this.”
Carson, an elementary student in Park Hills,
Missouri, put a finer point on his experience: “It
was my favorite thing ever.” Des Moines Metro
Opera received this from an elementary school
in Missouri: “We cannot wait to have OPERA
Iowa come back next year! Liberty Oaks was
the only school in our district to be able to have
OPERA Iowa come and they were so impressive
that many of the other elementary schools
want to participate next year…our students got
a once-in-a-lifetime opportunity, which is truly
amazing. We cannot thank you enough for
providing this experience.”
Des Moines
Metro Opera
Educates and
Cultivates
Presenting Sponsor
In its 26-year history, OPERA Iowa has
introduced opera to at least 700,000 people in
Iowa and surrounding states, Japan and China.
Our mission at Des Moines Metro Opera includes
providing performing arts education and cultivating
the next generation of opera lovers. We deliver
on both promises with our unique and widely
popular OPERA Iowa Educational Touring Troupe.
This program brings live opera and essential music
education to more than 26,000 school children,
teenagers and adults annually. In its 26-year history,
it has introduced opera to at least 700,000 people
in Iowa and surrounding states, Japan and China.
As music and performing arts programs in public
schools are being challenged by budget cuts, the
benefits of OPERA Iowa are increasingly essential.
The Des Moines Metro Opera OPERA Iowa
Educational Touring Troupe performs live
opera with music, singers, scenery, costumes
and make-up, props, lighting and audience
participation for schools and communities.
During school residencies, it also conducts
classroom workshops on music, opera and
theater and provides master classes and
industry insights to high school vocal students.
The program has been carefully nurtured and
fine tuned to provide exhilarating musical
content while meeting the National Standards
of Arts Education.
The costs of bringing live performances and
educational workshops to more than 80 schools
and communities annually are considerable. In
2012 the company spent $126,000 on this
educational outreach initiative. In order to keep
this program affordable, Des Moines Metro Opera
asks around $600 per school in most cases,
which covers little more than 40% of the cost of
a performance. To close the gap, Des Moines Metro
Opera seeks financial support from individuals,
groups and corporations. In 2012 the H. Dale
and Lois Bright Foundation generously gave a
three-year gift totaling $150,000 to the company,
becoming the Presenting Sponsor of our OPERA
Iowa program. We are grateful for the continued
commitment to Des Moines Metro Opera by
Mrs. Bright and wish her many more years of
musical enjoyment.
Members of the OPERA Iowa troupe are handpicked by Michael Egel, Artistic Director of Des
Moines Metro Opera. This year’s six singers, music
director and technical director came together
for the first time at our Indianola offices on a
cold day in early January. Primed with orange
74
juice and cupcakes, the group quickly set about
preparing for a 13-week marathon of rehearsing,
performing, teaching, touring and staying healthy.
Their first performance of the season’s operas
was a public dress rehearsal of Mozart’s The Magic
Flute at Hoyt Sherman Place Theater and a weeklong residence of Fox’s Sid the Serpent Who
Wanted to Sing at the State Historical Museum
in late January.
Photo by Tim Micconnell photography
Aaron Ingersoll (standing) and Stephen Karr
(piano) during a masterclass at Urbandale
High School.
2012 OPERA Iowa
Touring Troupe:
(back, left to right)
Aaron Ingersoll,
Alexander Elliot,
Dana Pundt,
Stephen Karr,
Jessica Rechin;
(front row)
Sara Ann Mitchell,
Gabriel Gargari,
Ashley Cutright.
In 2012 Des Moines Metro Opera’s touring troupe
shared their talent and enthusiasm through 82
school performances and nine evening concerts
in 61 communities throughout Iowa and Missouri.
Along with sixteen performances in the Greater
Des Moines area, OPERA Iowa visited Dubuque,
Knoxville, Mount Vernon, Davenport, Durant,
Leon, Buffalo Center, Lake Mills, Ames, Clear
Lake, Cascade, Maquoketa, Pella, Montezuma,
Spirit Lake, Orange City, Oskaloosa, Perry, Sioux
City, Sac City, Iowa City, Coralville, and Marshalltown
in Iowa and Mercer, Park Hills, and the Kansas
City area in Missouri.
Des Moines Metro Opera takes its role as the largest
performing arts organization in the state seriously
and is committed to enriching the cultural strength
of our state.
The audience awaits
The Magic Flute final
dress rehearsal at Hoyt
Sherman Place Theater.
OPERA Iowa Mail Bag
Residencies were common this year as OPERA
Iowa had extended stays in a number of cities,
visiting a number of schools in that region.
The troupe spent three days in Sioux City,
five days in Marshalltown and 13 days in Iowa
City. Beyond their capacity with OPERA Iowa,
the troupe serves as ambassadors for Des
Moines Metro Opera. Every performer is invited
to participate in Des Moines Metro Opera’s
Apprentice Artist Program, and during their stay
the troupe supports Des Moines Metro Opera
by performing for the company’s guild chapters
and giving other performances.
A fan letter from Paige, Sioux City Community
Schools, Sioux City, IA.
Des Moines Metro Opera takes its role as the
largest performing arts organization in the state
seriously and is committed to enriching the
cultural strength of our state. The nine concert
performances of The Magic Flute that OPERA
Iowa brought to communities of students and
adults delivered on this commitment.
The 2013 OPERA Iowa Educational Touring Troupe
will perform Donizetti’s The Elixir of Love and
Davies’ The Three Little Pigs, continuing Des Moines
Metro Opera’s mission to educate and entertain
the young people of Iowa and the Midwest.
For more information about OPERA Iowa,
or to book a residency in your community,
contact Des Moines Metro Opera at
desmoinesmetroopera.org or 515-961-6221. n
Some of the characters from The Magic Flute
by Sarah from Clark Elementary, Sioux City, IA.
An illustration of Clown from Sid the Serpent
Who Wanted to Sing by Jenene from Anson
Elementary, Marshalltown, IA.
75
76
AMEs chAPtEr
Co-Presidents
JuLIA AND WALLAcE sANDErs
AuDIENcE
PArtIcIPAtION
PArtIcIPAt
IPA ION
IPAt
Secretary
BArBArA BrOWN
Treasurer
suE rAVENscrOFt
Membership
JANE FArrELL-BEck
Des Moines Metro
Opera Guilds mix
appreciation with
service behind
the scenes
the Ames chapter began its year with the annual
Overture Potluck which featured a performance
by the recipient of the chapter’s scholarship with
Iowa state university Opera studio, a program
now in its second year. Ames remained active
throughout the year, scheduling presentations on
every aspect of opera—from creation to conducting,
the integration of dance, and the challenges of
young singers. In addition to the annual Arias in
Ames concert featuring DMMO’s OPErA Iowa
Educational touring
t
troupe in March, the Ames
t
chapter created two new events, a 1920s-themed
razzle Dazzle Party in October and a performance
of The Magic Flute by OPErA Iowa in February.
Partygoers channel
their inner flapper
during the Ames
Chapter’s “Razzle
Dazzle.”
DEs MOINEs chAPtEr
Co-Presidents
cOrINNE McchEsNEy
LEO skEFFINGtON
Guild members
combine culture,
couture and cuisine
during the Threads
and Trills Fashion
Show and Luncheon.
PHOTO By JEn GOLAy
OLA
OLAy
Secretary
JuDy russELL
DEs MOINEs MEtrO OPErA GuILD cOuNcIL
Treasurer
MIchAEL russELL
Co-Presidents
LINDA AND BErNArD WhItE
Des Moines Metro Opera would not be able to
generate the reach and scope of its activities
without the tireless work from its four Guild
chapters in Ames, Des Moines, Indianola
and Newton-Pella. t
together, they make up
a corps of volunteers that assist the DMMO
office in many ways—from acting as official
greeters during events to preparing envelopes
for mailings to baking a plate of cookies for
the staff! this year the chapters also joined
together to host the preview of Eugene Onegin
and the threads and t
trills Fashion show and
Luncheon at the Wakonda club. separately,
each chapter organizes at least one event
every month, with activities such as meetings,
previews, tours, and even full-scale concerts.
Membership
MELINDA AND DENNIs hENDrIcksON
the Des Moines chapter got their year started
last fall with a kickoff event at the West End
Architectural salvage Building in Des Moines.
the chapter built on 2011’s inaugural singing
On t
tap series at the Blue Moon Piano Bar with
77
78
79
two more installments in 2012. In January Des
Moines organized a concert by baritone Todd
Thomas, which was recorded by Iowa Public
Radio for future broadcast. The chapter hosted a
screening of the Metropolitan Opera’s broadcast
of Don Giovanni; had a theatrical make-up artist
transform the faces of selected guild members
for Halloween; and organized the “Descent into
Degradation” Guild Night featuring cocktails
and appetizers at Django, then a bus ride to
Indianola for a performance of Don Giovanni.
Right:
DMMO’s Director
of Marketing and PR
Nick Renkoski falls
“victim” to makeup
artist Patrick
Boltinghouse.
Campaign Purpose
To celebrate the legacy of Robert L. Larsen,
Co-founder and Artistic Director Emeritus of
To learn about contributing to the Robert L. Larsen
Legacy Endowment, please contact Des Moines
Metro Opera at 515-961-6221 or visit our website
at desmoinesmetroopera.org.
Fund purpose
To raise funds to support the construction of
scenery for new productions
Donors
Founder’s Circle ($40,000)
Executive Committee: Charlotte Hubbell, Nancy
Main, Barbara Gartner and Tom McKlveen
Newton-Pella Chapter
President
Virgina Bennett
TOP Right:
Orchestra Manager
Mark Dorr displays
and demonstrates a
unique instrument.
Secretary
Joan Tyler
Treasurer
Carol Soderblom
Indianola Chapter
President
Julia Hagen
Secretary
Nancy Lickiss
Treasurer
John Crouch
Membership
Chari Kruse
The Indianola Chapter kicked off the year with
an event at the home of Des Moines Metro Opera
founder and Artistic Director Emeritus Robert L.
Larsen. The chapter teamed up with the NewtonPella Chapter to take a tour of the historic Pella
Opera House in October, learned about the
business of opera from Executive Director Karol
Nickell and Orchestra Manager Mark Dorr in
November, welcomed the OPERA Iowa Educational
Touring Troupe in January, and previewed Des
Moines Metro Opera’s Summer Festival operas
in the spring. In June they were busy at work
promoting the 40th Anniversary Season and
organizing Peanut Butter & Puccini Family Opera
Adventure, a program for children that includes
a tour of the Blank Performing Arts Center, an
opera performance and a sack lunch.
The newest chapter in Des Moines Metro Opera’s
family of guilds marks its second year with even
bigger and better activities. The Newton-Pella
Chapter paired with the Indianola Chapter to
tour the historic Pella Opera House in October
and introduced a new annual event, “Arias
in Newton,” performed by the OPERA Iowa
Educational Touring Troupe in February. The
chapter previewed Des Moines Metro Opera’s
40th Anniversary operas throughout the spring
and participated in the joint chapter preview
of Eugene Onegin in Des Moines on the Drake
University campus. n
Committee Members: Pat Brown, Patty Cownie,
Chuck Farr, Judy Flapan, Mary Kelly, Diane Morain,
E.C. Muelhaupt, Michael Patterson, Janis Ruan,
Kimberly Shadur, Cherie Shreck and Sheila Tipton
How this endowment came to be
A distinguishing element of Des Moines Metro
Opera is and has always been the custom-designed
and executed sets for its summer productions.
In the earliest days of the company, each opera
set was built to Larsen’s specifications.
When the committee asked Artistic Director
Michael Egel for suggestions on how they could
recognize Larsen’s great service to Des Moines
Metro Opera, he suggested an endowment
dedicated to supporting the costs of building
one new set each season.
Why this is important
In recent years, material and construction costs
for opera productions have risen considerably. This
past year also saw a 25% increase in transportation
costs, which added $4,500 to mainstage costs.
In addition, the unique shape of our stage—with
the playing circle projecting into the audience—
makes our performances particularly intimate and
special for both the audience and singers, but it
also makes it more difficult to rent sets from other
companies. Because our operas are presented in
repertory, our sets must be built to be put up or
taken down in about three hours, multiple times
during the season.
Roger Pines, dramaturg at the
Lyric Opera of Chicago, speaks
during the joint chapter preview
of Eugene Onegin.
How you can help
Please contribute to the Robert L. Larsen Legacy
Endowment Fund. To commemorate our 40th
Anniversary, gifts in multiples of 4 or 40 are
encouraged. All gifts are appreciated.
All donors to this campaign will be recognized
annually as Encore Society members.
Patty and Jim Cownie
Barbara and Michael Gartner
Fred and Charlotte Hubbell
Charitable Foundation
Mary and Dan Kelly
Nancy and Bill Main
Mary and Stan Seidler
Maestro ($24,000)
Marilyn and Chuck Farr
Director ($14,000)
Janis and John Ruan, III
Cherie and Bob Shreck
Artistic Leader ($4,000)
Elizabeth Ballantine and
Paul Leavitt
Pam Bass-Bookey and
Harry Bookey
Bob and Ardene Downing
Marshall and Judy Flapan
Jo Ghrist
Leticia and Dr. David F. Gordon
Sara and Luther Hill
Helen and James W.
Hubbell, Jr. Foundation
Ensemble ($1,400)
Roger Bethard
David Boarini and
Michelle Peacock
Michael Egel
Dr. Bruce Hughes and
Dr. Randall Hamilton
John Merriman and
Barbara Beatty
Judy and Phil Watson
Sam and Lori Kalainov
Winifred Kelly
Linda and Tom Koehn
Tom and Nancy McKlveen
Diane Morain
Jim and Jeanne O’Halloran
Michael Patterson
Kimberly and
Dr. Craig Shadur
Tom and Mary Urban
Fred and Emily Weitz
Kristi Lund Lozier and
William H. Lozier
Melanie Porter
Heidi Shreck and
Brian Shellenberger
Wendy and Lou Waugaman
Friend ($400)
William and Roberta Abraham
Roger Bethard
Tom Fisher
Dale and Julia Hagen
Daniel J. Knepper in honor
of Bernie and Linda White
Adrienne McFarland and
Joe Clamon
Louise McKlveen
Dr. Timothy A. McMillin
Sheila Meginnis
Samuel and Carolyn O’Brien
John Schmidt and Deb Wiley
Mary Stuart and David Yepsen
Additional Gifts
April and Richard Angotti
Anonymous
Grace Blaschke Arrowood
Jane Farrell-Beck
Pat Brown
Linda Dawe
M. Burton Drexler
Tom Flack
Teri Herron
Steve and Sue (Wheeler) Libby
Honorah Noonan
Rosanne O’Harra
Jean O’Shea
Kimberly Roberts
Karen Shimp
Cindy Sponsler Nichols
Denise and Kirk Stuart
Dr. Robyn Swanson
80
A Look Back: 2011 Festival Season
In Tribute: Dr. Lawrence Ely and Donald Easter
Dr. Lawrence Ely and Donald Easter, two stalwart
heroes of the Des Moines Metro Opera, have died
within the last year. These men were both pioneers
and faithful guardians of the principles and ideals
of the company.
La Bohème
Giacomo Puccini
“The singing and acting are magnificent, from
the uproarious intellectual hi-jinks of the four
highly individual boys to the sweet-voiced ardor
of Meers as the poet; from the fast-paced swirl
of the crowded Christmas Eve scene....you’re
gonna love this opera.” The Des Moines Register
Larry was the father of Steven Ely who, as a student
at Simpson, was my lighting man for college opera
productions. Thus Larry and his wife, Dorothy,
were well aware of my passion for the art form,
and Larry, a well-known physician and surgeon,
seemed an appropriate person with whom to
discuss plans for an opera company in 1973.
On a cold January night Doug Duncan and I met
with Larry in the living room of his home and
presented dreams and plans for the company.
Larry was a music lover himself and a fine choral
singer. His enthusiasm for the proposed ideas
was immediate, and he promised to organize a
board as soon as possible.
Don Pasquale
He was true to his word, and a distinguished board
almost magically appeared which included his good
friend Don Easter of the Easter stores and Easter
enterprises. Larry served as the first president of
the board and Don as the first vice-president.
Gaetano Donizetti
“An adorable Don Pasquale (seen July 3) featured
the most beautiful singing of the weekend thanks
to a quartet of principals with the requisite equipment
to deliver the bel canto goods. The very gifted Taylor
Stayton’s laser-bright timbre boasts an exceptional
fluidity above the staff...it was fun to see handsome
Rod Nelman tackle Pasquale’s comedic hijinks,
and he sang the old roué with more refulgence
than many do. Soprano Zulimar López-Hernández
displayed a scintillating trill for Norina’s “So anch’io
la virtù magica,” and John Moore’s Malatesta was
endowed wtih an arresting burnt-umber baritone
and personality to burn.” OPERA NEWS
They had much to do with “papering the house”
that first season and making up for a small deficit
on our $22,000 budget. Larry and his family
helped with set building that first year, and Larry
sang in the chorus for several seasons.
Donald Easter subsequently served as board
president and both men remained enthusiastic
board members and tireless supporters for the
rest of their active lives, spearheading endeavors
such as the world premiere of Lee Hoiby’s The
Tempest, Des Moines Civic Center productions
in addition to the festival season, the inclusion
of a renowned apprentice artist program, and
the birth of OPERA Iowa, the touring arm of the
company to schools and communities in Iowa
and surrounding states.
Dialogues of
the Carmelites
Francis Poulenc
“…a company that…focuses instead on
presenting the key element required to
deliver a powerful night at the opera: Great,
honest singing. For this alone, the Des Moines
company should remain in the radar of any
operagoer…” newoutpost.com
Photos by Duane Tinkey
The dedication to and sheer joy in the tasks at
hand of these two gentlemen exemplify the spirit
that has made the Des Moines Metro Opera a
unique and eminently successful arts organization
in America.
Robert L. Larsen
Artistic Director Emeritus and Founder
A photo of Dr. Lawrence Ely (left)
and Donald Easter in the lobby of
the Blank Performing Arts Center
during the early years of Des Moines
Metro Opera.
81
Des Moines Metro Opera Foundation
WILLIAM RANDOLPH HEARST FUND FOR
EDUCATIONAL OUTREACH supports the
education and community outreach efforts of
the company.
MICHAEL HERZFELD FUND supports underserved
audiences to attend festival productions.
DOUG BROWN FUND supports the public
broadcast of festival productions.
APPRENTICE ARTIST ENDOWMENT FUND
provides tuition, housing, meals and stipends
for 40 artists annually.
ROBERT L. LARSEN Legacy Endowment
honors the co-founder of Des Moines Metro
Opera by supporting the continued quality of
our scenic productions.
There are many ways to make a donation to
Des Moines Metro Opera. Below are several
types of gifts.
Photo by Jen Golay
1
Board of Trustees
President
Wendy Waugaman
President Elect
Dr. Bruce Hughes
Treasurer
Natalie Tomaras
Secretary
Karol Nickell
James Berens
Marshall Flapan
Carlton King
Tom McKlveen
E.C. MuElhaupt III
In 1992 the Des Moines Metro Opera Foundation
was founded as a way to sustain the long-term
growth of Des Moines Metro Opera. Directed by
Des Moines Metro Opera Foundation Board of
Trustees, the endowment exists to support the
general operations of the company, assisting with
both mainstage and educational programming
needs, and to enhance the Planned Giving Program.
It was started with an initial challenge gift from
John and Doris Salsbury, followed by a second
in 2005, and today holds nearly $10 million in
assets. This year the Foundation will provide
nearly $685,500 in support that is critical to the
company’s fiscal and artistic stability.
There are many ways to support the Foundation
and meet your own personal philanthropic goals.
We hope you might consider supporting any
one of the current funds within the Foundation
to perpetuate your artistic legacy into the future
for generations to come.
Robert L. Larsen Fund for Artistic
Excellence, funded by the Salsbury Challenge II,
creates an endowment that will nurture and
sustain the roots of the company while providing
future artistic growth and financial stability.
21st CENTURY FUND supports unrestricted gifts
resulting from Salsbury Challenge I that support
artistic initiatives and special projects of Des
Moines Metro Opera.
DOUGLAS DUNCAN MEMORIAL FUND supports
contemporary and American opera productions.
Gifts that pay you income
• Charitable gift annuities
• Charitable remainder trusts
• Pooled income funds
• Annuity trust
• Unitrust
• Retained life estate
Gifts you can make today
• Cash gifts
• Stock gifts
• Memorial and honorary gifts
• Charitable lead trusts
• Donor advised funds
Gifts that will benefit Des Moines
metro Opera beyond your lifetime
• Bequests
• Beneficiary designations
• Endowed gifts for special areas, such as one
of the educational programs or a critical
position within the organization
• Des Moines Metro Opera’s new Des Moines
Metro Opera Endow Iowa Fund at the
Community Foundation of Greater Des Moines
Donors who make a planned gift to Des Moines
Metro Opera join a special group known as
our Encore Society.
To learn how you can give a gift, contact Des
Moines Metro Opera at 515-961-6221 or visit
desmoinesmetroopera.org/giftplanning.htm. n
2
A Story of Giving
Marilyn and Chuck Farr are long-time residents of Des
Moines who have had a history with Des Moines Metro
Opera almost since the beginning. Marilyn Farr first took
her son to an opera in 1974, to Verdi’s Falstaff, at the
request of the boy’s music teacher. Marilyn, an opera fan
for some time, was able to convince her husband Chuck
to go the next year and, as she assumed, the leery Chuck
fell in love with the art form.
“Generally speaking, I’m a little slower than Marilyn when
it comes to these things,” Chuck says. Since then, the Farrs
have been friends and champions of Des Moines Metro
Opera, giving generously of their time, money and effort.
“Why did we give?” Marilyn asks. “Because we could.”
Since nearly the inception of Des Moines Metro Opera,
the Farrs have been patrons, donors, volunteers, advocates
and general do-it-alls for the company. “Opera is another
leg on the musical stool,” Chuck says. So impressed is
he in the art form he doesn’t even get choosy about
particular titles. “My favorite opera is the one I’m
watching right now.”
“I don’t like plots with crazy women,” Marilyn mentions.
“No, she doesn’t,” Chuck confirms. Marilyn continues,
“But I love the whole picture, the grandeur of it.”
The grandeur of opera has taken Chuck and Marilyn all
over the world, from the Metropolitan Opera in New
York to a castle in Finland where the couple saw Verdi’s
Aïda. And yet, despite having seen operas in places
as exotic as Russia, Italy, Japan, Belgium and Sweden
they always come back, and give, to Des Moines Metro
Opera. In fact, they were able to combine their love
of traveling and Des Moines Metro Opera in 2000
when the Farrs helped the company send the OPERA
Iowa Educational Touring Troupe, Des Moines Metro
Opera’s educational arm, to China, a country where
Chuck and Marilyn had already seen an opera. “It’s
important that children are exposed to this music,”
Marilyn insists and she and Chuck have been two of
OPERA Iowa’s greatest advocates since its inception.
The Farrs’ method of generosity is very simple. “My
money goes where my interests lie and I’m interested
in opera,” Chuck explains. “Opera is such a fine
amalgamation of the things I like about performance.”
The Farrs made a planned gift to Des Moines Metro
Opera through an insurance policy, but with recent
changes in market status, it made more sense to cash in
the policy early, to give the most benefit to the company—
and the art form that they love. This is just one creative
way the Farrs have helped the company. Their support
of Des Moines Metro Opera has been instrumental in
the success of the company from the very beginning
and all they’ve gotten in return is the ability to see fine
opera in the city they live.
“A fair trade,” Marilyn says. “Absolutely,” adds her
husband. n
Donors
Des Moines Metro Opera would also like to thank the following orgainzations for their support of our
mainstage productions and educational programs:
Fred Maytag Family Foundation
The W.T. and Edna M. Dahl Trust
Anderson Erickson Dairy Co.
Aviva Charitable Foundation
CenturyLink
The Coons Foundation
EMC Insurance Companies
Enterprise Holdings
Faegre Baker Daniels LLP
ING
Artistic Director’s Circle
$25,000 and above
BRAVO Greater Des Moines
The H. Dale and Lois Bright Foundation
Des Moines Metro Opera Foundation
William Randolph Hearst Endowment
for Educational Outreach
Daniel J. and Ann L. Krumm
Charitable Trust
Doris Salisbury Endowment Fund
Simpson College
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Aviva Charitable Foundation
James and Lois Berens
Jim and Patty Cownie/
Cownie Charitable Fund
W. T. and Edna H. Dahl Trust
Des Moines Metro Opera Guild
Chapters: Ames, Des Moines,
Indianola, and Newton
Barbara and Michael Gartner in
memory of Christopher Gartner
Mary and Daniel Kelly
Tom and Linda Koehn
Joan Kuyper Farver Foundation/
The Kuyper Foundation
Robert L. Larsen
Nancy and Bill Main
John Deere
Meredith Corporation Foundation
MidAmerican Energy Foundation
The Paul’s Foundation
Prairie Meadows Racetrack and Casino
The Vredenburg Foundation
The Weathertop Foundation
West Bancorporation Foundation
Guarantors
$2500 - $4999
A.E. Easter Family Foundation
Pamela Bass-Bookey and Harry Bookey
J. C. and Sue Brenton
Sunnie Richer and Roger Brooks
Pat Brown in memory of Doug Brown
Impresarios
Joan Burke
$5000 - $9999
Charles and Marilyn Farr
James and Catherine Erickson/
Thomas G. and Rita Fisher
Anderson-Erickson Dairy Company
CenturyLink, Inc.
Barbara Graham
Steven P. and Stephanie DeVolder
Jo Ghrist
Faegre Baker Daniels, LLP
Bryan Hall and Pat Barry
John and Louise Grzybowski
Heath and Kim Hinkhouse
Dr. Bruce L. Hughes and
ING
Dr. Randall Hamilton
John Deere Des Moines Operations
Charlotte and Fred Hubbell
LeRoy and Carol Johnson
Nixon E. Lauridsen/
Lauridsen Family Endowment
Sam and Lori Kalainov
Iowa Arts Council, a Division of the
Winifred Kelley
Iowa Department of Cultural Affairs Patrick Kelly
Paul J. Meginnis II
Marylee Lankamer
Meredith Corporation Foundation
Dr. Bernard and Dana Leman
Prairie Meadows Racetrack and Casino Holly and Neal Logan
John D. Ramsey/John D. Ramsey
Diane Morain
and Mary M. Ramsey Fund
Melanie Porter
Stanley and Mary Seidler/The Seidler
Betty Schiller
Foundation
Craig and Kimberly Shadur
Cherie and Bob Shreck
Judy and Phil Watson
National Endowment for the Arts
Pioneer, A Dupont Business
Principal Financial Group
Foundation, Inc.
Janis and John Ruan, III/
The John Ruan Foundation
85
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Over 400 canvases will be available for purchase.
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PATROnS
$1000 - $2499
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tristan Adelman
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the Bennett family in memory
of E. James Bennett (Dr. Virginia
Bennett and Leland L. cook;
Dr. Edward Bennett, Margot
Wickman-Bennett, Morgan
and Erin Bennett; susan
Bennett, shane swanson
and Nathan and Meredith;
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chuck and sue Green
Iles Funeral home
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Eugene T. and Eleanor Smith
Joan T. Smith
Becky Sponsler
Paul and Susan Stageberg
Dr. Lawrence F. Staples
Dr. Stephen Stephenson
Carolyn and Roger Stirler
Clyde Stoltenberg
Martha Jo Strickler
David and Gail Stubbs
Joyce and Benjamin Swartz
Paul and Jean Swenson
J. Patrick Tatum
Dr. Charles L. Thiesenhusen
Diane L. Thiessen
Steve Thompson
Cecilia J. Tomlonovic
Dr. Joseph Van Cura
Thomas J. Van Hon
Marvin and Barbara Van Sickle
Virginia Ver Ploeg
Catherine Vesley
Karen Wetzstein
89
We Treat People,
Not Symptoms
Your whole family will benefit
from the state-of-the-art medical
care our experts provide.
We’re dedicated to your overall
wellness and committed to
preventing future illness.
C
M
Y
CM
Injury and Illness Care
Pediatric Care
Preventive Care/check-ups
Osteopathic Manual Medicine
Treatment of acute conditions
Treatment of chronic diseases
Comprehensive physical exams
MY
CY
CMY
K
Skilled /Rehabilitation
Long -Term Nursing
Alzheimer’s /Memory Care
900 Polk Boulevard Des Moines, Iowa 50312-2225 515.255.5433
www.seniorlifecenter.org
Doing a World of Good
3200 Grand Avenue
|
Des Moines, IOWA
|
271-1710
|
www.dmuclinic.org
American Equity Investment
Life Insurance Company
Des Moines
Met
ro Opera
e
ts th
or
Supp
LOVE IS
A GIFT
DONOrs
Bernard and Linda White
George Willett
thomas F. and Amy N. Worthen
Maryann Wycoff
Annie zinn
DES MOInES METRO
OPERA 40TH AnnIVERSARy
COnTRIBUTORS
Anonymous
christie Averweg
Joan Burke
Alan and Denise core
steven P. and stephanie
DeVolder
Dorothy Ely
Dale and Virginia Grantman
Dr. Bruce L. hughes and
Dr. randall hamilton
stephan L. and Linda Jones
chuck and roberta kerr
James and Mary Ellen kimball
carlton t. and susan king
Daniel J. knepper
Evelyn kuhns
Larry Mitchell
James and Jeanne
O’halloran
charlene Opdahl
J.t. and suzanne Pundt
Bob and cherie shreck
Linda simonton
Mr. Frank sorauf
Weinman Insurance services
2012 CORPORATE
MATCHInG GIFTS
Aviva charitable Foundation
Bank of America
Matching Gifts
ING
Meredith corporation
Foundation
the Wellmark Foundation
EVEnT COnTRIBUTORS
Give It in a Gold Box
American Owned
and Operated
TENTH & WALNUT VALLEY WEST MALL
5425 MILLS CIVIC PKWY
www.american-equity.com
(888) 221- 1234
West Des Moines, IA
JOSEPHSJEWELERS.COM
12 DMMO 05.12
WInE AnD FOOD
SHOWCASE
Property Master Sponsors
Linda and tom
t
koehn
Ensemble Sponsors
Belin Mccormick Attorneys
at Law
the Graham Group
homesteader’s Life
Insurance
Ingersoll Wine and spirits
NcP Investment Banking
Chorus Sponsors
rita and Ernie Perea
Beth t
triebel, O.D.
Weinhardt and Logan, P.c.
West Bank
Supporting Sponsor
McGowan, hurst, clark and
smith, P.c.
Maytag Dairy Farms
Occasions Made right
Palmer’s Deli
sam and Louie’s New york
Pizzeria
sbrocco
simply Delicious by kathy
Phelan
splash seafood Bar & Grill
suzie’s sweet treats
t
t
tartine
In-kind Donors
Anonymous
Des Moines Embassy club
the Des Moines Marriott
2012 VEnDORS
Jen Golay, Daily Life
Beverage
Photography
Dimitri Wine & spirits, Inc.
Dr. Bruce hughes and
Doll Distributing
Dr. randall hamilton
Glazer’s Distributors
kevin Jones, Jones Design
Global Wines Iowa
Photography
Goose Island Beer company Wendy and Lou Waugaman
Iowa Beverage systems
Iowa Wine & Beverage/
40TH AnnIVERSARy
constellation Wine Division RUBy BALL
Iowa Wine & Beverage/
Major Sponsor
trinchero Family Estates
t
Pioneer, A Dupont Business
Jasper Winery
Associate Sponsor
Little swan Lake Winery
Madhouse Brewing company carson Wealth Management
Group
Millstream Brewing company
MJ Distributing
Supporting Sponsors
Olde Main Brewing company James and Lois Berens
t
tassel
ridge Winery is
tom and Linda koehn
t
the Beverage spectrum, Inc.
Automobile Sponsor
the Wine Merchant
ramsey subaru Auto center
Vine street Imports
World Wide cellars
Facility Sponsor
In-kind Donors
Boesen the Florist
the Des Moines Embassy club
Des Moines Wine club: Mark
and Merilee Davis, Dr. cass
Franklin, Aaron hamrock,
Dr. Burce hughes and Dr.
randall hamilton, tim
Mccarthy, Esq., kimberly
and Dr. craig shadur, John
taylor and anonymous
t
contributor
stephen Exel
Fleming’s Prime steakhouse
and Winebar
Jen Golay, Daily Life
Photography
khanh hamilton
simpson college choral
Ensembles
Marcus Walsh, Okoboji Wines
Auction Donors
Badowers
Fleming’s Prime steakhouse
and Wine Bar
Dr. David and
Mrs. Leticia Gordon
Les and Eileen Metzer
Jackson and
charlene Versteeg
DSM UnVEILInG SPOnSORS
American Equity Insurance
DeskActive
ENt of Iowa
MEMORIAL GIFTS
In memory of Dr. Lawrence Ely
the Des Moines scottish rite Joanne E. Andrews
Food
consistory
Viva La Bamba
Donald and Mary Beary
Mexican restaurant
Contributing Sponsors
Michael and Jean strand
Winestyles
Bankers trust
t
company
Bravo cusina Italian restaurant Belin Mccormick Attorneys Bloomburg
Norma Boyd
café di scala
at Law
Arlys J. and Paul Breuklander
chocolaterie stam
Diane and Lon Brewer
crème cupcake + Desserts Graematter, Inc.
Margot Burnham
cyd’s catering
Dr. Bruce hughes and
Mary conner
Dr.
randall
hamilton
Dahl’s Foods
Ms. holly h. craiger
robert
L.
Larsen
Nixon E. Lauridsen/Lauridsen Frederick and Anne crane
El chisme restaurant
Family Endowment
Arlene and Fredrick DeVries
El Patio/Becky smith catering
Nancy and Bill Main
Lori Edler
Gino’s West Glen
cherie and Bob shreck
Michael Egel
Gusto Pizza
sheila tipton and
Paul and Lois Egenes
the kirkwood Lounge
William Dawe, III
James and catherine Erickson
Marriott Des Moines
Weinhardt and Logan, P.c.
todd and Linda Fatland
t
Downtown
Wild rose Entertainment
91
www.maytagblue.com
Your Sight . . .
Our Vision.
For over 93 years, Wolfe Eye Clinic has looked to the future in an
effort to provide Iowans with the latest eye-care advancements.
By staffing our clinics with highly skilled specialists and
investing in new technologies, Wolfe has been the name Iowans
turn to first for state-of-the-art medical and surgical eye care.
After all, improving your sight has always been our vision.
To find out how Wolfe Eye Clinic can help you get a
better focus on the arts, visit www.wolfeeyeclinic.com.
Retail Shop & Tours t641.792.1133
2282 E. 8th St. N. tNewton, Iowa
Des Moines Area Hy-Vee
and Hy-Vee Drugstores
are proud to support the
Des Moines
Metro Opera
Ingersoll at 28th
DONOrs
thomas G. and rita Fisher
Eloise G. Frampton
Michael and Barbara Gartner
cynthia J. Glynn
chuck and sue Green
cora c. hayes
karin and Bruce heilman
Dennis and Melinda
hendrickson
Dr. Michael and Julie hipp
Marty and rae hoffert
Lawrence E. Jones
sam and Lori kalainov
Winifred kelley
heidi and christopher koll
robert L. Larsen
Debra and Donald Laster
David r. Leaming
Deanna r. Lehl
richard and Jeanne Levitt
and Family
sandra M. Linford
Lynzy Loyet
ronald and Jill Maahs
Jerilee and John Mace
Nancy and Bill Main
Jeffrey and
Maureen McAnarney
Larry and Linda McAtee
McWilliams Appraisal services
Paul Meginnis
Dianne and Michael Milobar
Polly Moore
Jim and Jeanne O’halloran
rosanne O’harra
coral Peterson and
christine Bergman
richard and Phyllis Preston
Dr. Mark and Mary Purtle
Dr. steven and susan reynolds
randy and Nancy ross
Bob and JoLee scarborough
Jeannine schulze
robert and susan thompson
Vsr Financial services
West Des Moines Lions club
karen Wetzstein
roger and Mary kay Wilson
In memory of Donald Easter
Begie A. hefner
James and Jeanne O’halloran
kai swanson and Jenni
Venema swanson
In memory of Dr. John Ware
Donald and susan cell
Vivian y. heywood
holly’s shop for Men
Mount Vernon Bank and
t
trust
company
Lois Nichols
Jo Wilch
Other memorial gifts
Margot Burnham in memory
of Mitchell healy-Burnham
Patrice sayre in memory of
Patricia Faulkner
Dan and Mary kelly in memory
of stanley hiersteiner
Loren horton in memory of
carol Larsen horton
Dan and Mary kelly in memory
of Paul karper
honorah Noonan in memory
of Joe Mooney
t
todd
thomas in memory of
Jon spong
GIFTS RECEIVED
AFTER 6/12/12 WILL BE
ACKnOWLEDGED In THE
41ST SEASOn PROGRAM
GIFTS FOR THE 2011
SEASOn RECEIVED AFTER
06/10/11
ExECUTIVE DIRECTOR’S
CIRCLE
$10,000-$24,999
James and Lois Berens
IMPRESARIOS
$5,000-$9,999
Mr. and Mrs. J. c. Brenton
Ann and Gordon Getty
Foundation
GUARAnTORS
$2,500-$4,999
Anonymous
Joshua and susie kimelman
PATROnS
$1,000-$2,499
Anonymous
LaDonna and rich Matthes
thomas and Nancy Mcklveen
Don and Janet Metcalf
SPOnSORS
$500-$999
sally Bartlett in memory of
Dr. William G. Bartlett
Andrew and sarah Dorr
Dale and Virginia Grantman
scott and Denise Linn
Fred and Mickey Lorber
roy and Mary Nilsen in
honor of Deb Wiley and
John schmidt
reynolds and reynolds, Inc.
Natalie tomaras
t
Mary Ann ringgenberg
Wendy and steve shaler
William Jr. and
Jean Douglas smith
stephen and
Martha stephenson
Donald stumbo and
Janene Panfil
SUPPORTERS
Gary M. thelen
$250-$499
Jodi tomlonovic
t
American Guild of Organists,
Beverley Wilson
Des Pipes Des Pedals
Anonymous
Indianola rotary
acknowledges with
J.t. and suzi Pundt
appreciation the following
simpson college Alumni
individuals and businesses
who assisted in meaningful
SUSTAInERS
ways during the 2012 season:
$150-$249
James and carol christensen Barber’s Piano, Lorlin Barber
Arlys Breuklander
Mardi and Patrick Deluhery
Pat Brown for her support
Judith Goodwin
of the Gilbert and Ames
ron and Janet Lehman
performances of The Magic
David Mayo
Flute
carolyn and Martin Pease
the community Foundation
of Greater Des Moines
Fred N. Peters
Des Moines Botanical center,
suzy and howard raffety
Elvin McDonald
christine riccelli and Andy
ruth Dorr
Ball in honor of John
schmidt and Deb Wiley
kenneth Dusheck
Betty and kevin ridout
ENt clinic of Iowa, Joy hesse
clyde stoltenberg
Brad Ehrlich
Annie F. zinn
rick Goetz
Julia and Dale hagen
FRIEnDS
hyVee of Indianola
$50-$149
Infomax Office systems
sally Baker
David J. Boarini and Michelle Iowa Public radio,
Jacqueline halbloom
Peacock
La Mie
Daniel Bohner and Phyllis
Pearson
La Rondine: Ginny Mccreever,
Ginger robertson, robin
Arlys and Paul Breuklander
Buerger Western costume,
Glen Dalton In memory of
Malabar theatrical, Goodspeed
Edwin and Margaret Dalton
Opera house, the Guthrie
James Desantis and
theatre, st. Louis repertory
katherine hay
theatre, kansas city repertory
theatre, kansas city costume
Judy Doorenbos
Lyric Opera of kansas city
Donald and susan Forsling
the Metropolitan Opera,
Leslie L. Garman
Gayletha Nichols
Don and cynthia Glover
North star Photography,
Dr. charles Goldman
William Gentsch
Mary homeier
Jim O’halloran
Barb and Dale Johansen
Optometric Associates
robert and claudia klassy
s & P Pianos, shon clausen
Gerald and suzanne kline
simpson college Music
thea Lavon Leslie
Department
candy Morgan
skeffington’s
colleen Putnam
West Music, Gary Payne
timothy and rosemary rahm
Mr. and Mrs. tom
t
riley
93
94
Production History
1973
Giacomo Puccini La Rondine
Gian Carlo Menotti The Medium
Arthur Benjamin Prima Donna
Benjamin Britten Albert Herring
1974
Giacomo Puccini Madama Butterfly
Robert Ward The Crucible
Giuseppe Verdi Falstaff
1975
Giacomo Puccini Il Trittico
Wolfgang Amadeus Mozart The Magic Flute
Igor Stravinsky The Rake’s Progress
1976
Gioacchino Rossini The Barber of Seville
Jules Massenet Manon
Carlisle Floyd Susannah
1977
Wolfgang Amadeus Mozart Così fan tutte
Giuseppe Verdi La Traviata
Jacques Offenbach The Tales of Hoffmann
1978
Georges Bizet Carmen
Giacomo Puccini La Bohème
Gian Carlo Menotti The Consul
1979
Johann Strauss Die Fledermaus
Giuseppe Verdi Rigoletto
Benjamin Britten A Midsummer Night’s Dream
1980
Giuseppe Verdi Il Trovatore
Gaetano Donizetti Don Pasquale
Richard Strauss Ariadne auf Naxos
1981
Giacomo Puccini Tosca
Douglas Moore The Ballad of Baby Doe
Gaetano Donizetti Lucia di Lammermoor
1982
Giuseppe Verdi Otello
Gaetano Donizetti The Elixir of Love
Wolfgang Amadeus Mozart Don Giovanni
1993
Giuseppe Verdi A Masked Ball
Gian Carlo Menotti The Saint of
Bleecker Street
2003
Charles Gounod Faust
Gian Carlo Menotti Amahl and the Night Visitors
1994
Marc Blitzstein Regina
2004
Gioacchino Rossini La Cenerentola
Richard Strauss Ariadne auf Naxos
1985
Charles Gounod Faust
Gioacchino Rossini La Cenerentola
Carlisle Floyd Of Mice and Men
1995
Stephen Sondheim Sweeney Todd
Douglas Moore The Ballad of Baby Doe
Wolfgang Amadeus Mozart The Marriage
of Figaro
2005
Benjamin Britten Gloriana
Gian Carlo Menotti Amahl and the Night Visitors
1986
Lee Hoiby The Tempest (World Premiere)
Charles Gounod Romeo and Juliet
1996
Giuseppe Verdi Macbeth
Wolfgang Amadeus Mozart Così fan tutte
1987
Richard Wagner The Flying Dutchman
Benjamin Britten The Turn of the Screw
1997
Benjamin Britten Albert Herring
1988
Giacomo Puccini Turandot
1998
Franz Lehár The Merry Widow
Ludwig von Beethoven Fidelio
Lee Hoiby Summer and Smoke
2008
Giuseppe Verdi A Masked Ball
Marc Blitzstein Regina
Gaetano Donizetti The Elixir of Love
1999
Giuseppe Verdi Il Trovatore
Kurt Weill Street Scene
2009
Carl Maria von Weber Der Freischütz
2000
Vincenzo Bellini Norma
Gian Carlo Menotti The Consul
Jacques Offenbach Orpheus in the
Underworld
2010
Wolfgang Amadeus Mozart The Marriage of Figaro
Giuseppe Verdi Macbeth
Carlisle Floyd Susannah
1983
Pietro Mascagni Cavalleria Rusticana
Ruggiero Leoncavallo I Pagliacci
Franz Lehár The Merry Widow
Gaetano Donizetti The Daughter of
the Regiment
1984
Wolfgang Amadeus Mozart The Marriage of Figaro
Francis Poulenc Dialogues of the Carmelites
Giuseppe Verdi Aïda
1989
Johann Strauss Die Fledermaus
1990
Modest Mussorgsky Boris Godunov
Friedrich von Flotow Martha
1991
Benjamin Britten Peter Grimes
Wolfgang Amadeus Mozart The Abduction
from the Seraglio
1992
Richard Strauss Der Rosenkavalier
Giacomo Puccini The Girl of the Golden West
Engelbert Humperdinck Hansel and Gretel
2001
Giacomo Puccini Il Trittico
Samuel Barber Vanessa
2002
Giacomo Puccini Turandot
Richard Strauss Salome
Leonard Bernstein Candide
2006
Igor Stravinsky The Rake’s Progress
2007
Benjamin Britten A Midsummer Night’s Dream
Giuseppe Verdi Otello
2011
Francis Poulenc Dialogues of the Carmelites
2012
Pyotr Ilyich Tchaikovsky Eugene Onegin
95
96
ADVErtIsErs INDEx
Des Moines Metro Opera thanks our advertisers, whose support helps us provide this
complimentary program for our 40th Anniversary season. For advertising information,
call our office at 515-961-6221.
Faulconer Gallery, Grinnell college InSIDE FROnT
simpson college InSIDE BACK
Pioneer hi-Bred International, Inc. BACK COVER
American Equity Life Insurance company 90
Apple t
tree Inn 64
Art at the castle 86
Barber’s Pianos 84
civic center of Greater Des Moines 58
civic Music Association 63
community state Bank 64
Des Moines symphony 59
Des Moines university 90
Downing construction Inc. 65
ENt clinic of Iowa 88
Friends of Drake Arts 61
Gib’s A & W 65
Gong Fu tea
t
88
Greater Des Moines convention
and Visitors Bureau 61
hancher Auditorium 62
hyatt 63
hyVee 92
Iles Funeral homes 84
the Iowa clinic, P.c. 86
Iowa Jewish senior Life center 90
Iowa Public radio 61
Josephs Jewelry stores 90
kayser hearing Aid & Audiology center 22
Market Day 59
106 West Boston Avenue
Indianola, IA 50125-1836
Phone: (515) 961-6221
Fax: (515) 961-8175
Maytag Dairy Farms 92
Metro Arts Expo 60
the Minnesota Opera 22
Noble Ford 12
Opera Omaha 21
Opera theater of saint Louis 86
Optometric Associates of Warren county 64
Peoples Bank 65
ramsey Mazda/subaru 8
s & P Piano services 23
shull & co. P.c. 65
silver Fox 92
skeffington’s Formal Wear 88
stephens Auditorium 60
strategic America 9
suites of 800 Locust 13
t
tassel
ridge Winery 11
university of Iowa school of Music 59
Wesley the Village 49
West Music 20
Willis Auto campus 10
Wolfe Eye clinic 92
Celebrat
ing
SUCCESS
E-mail: dmmo@dmmo.org
Website: desmoinesmetroopera.org
Facebook: facebook.com/DesMoinesMetroOpera
twitter: twitter.com/dmopera
t
Blog: dmopera.wordpress.com
A member of
W W W. S I M P S O N . E D U
MASTERPIECE
Pioneer proudly supports the arts and endowments
toward cultural advancement and education.
The DuPont Oval Logo is a registered trademark of DuPont.
®, TM, SM Trademarks and service marks of Pioneer.
© 2012 PHII. 12-1470

Season 40 Program - Des Moines Metro Opera

Transcription

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