We partner with dozens of cultural organizations yearly. We are a Founding Member of the Museum of African American History and Culture in Washington, D.C., International Tour Sponsor of the Chicago Symphony Orchestra and serve as the main sponsor of approximately ten museum exhibitions a year.
The Met's HD Live in Schools
Smithsonian National Museum of African American History and Culture (NMAAHC)
September 24, 2016, will mark a special moment in the history of the United States, when our only national museum devoted to African American history and culture opens on the Washington Mall after more than 12 years of planning and development. Following an Act of Congress in 2003 which sought to establish the museum, work to raise funds and develop the museum’s plans began in earnest. The NMAAHC is the 19th Smithsonian Institution museum.
Bank of America is honored to be part of this important moment in our history. We were an early supporter of the yet-to-be-built museum through our sponsorship of “Save our African American Treasures,” a national program which traveled the country to discover important artifacts that citizens might have in their possession. These holders of treasures in some cases gifted them to the museum, but also received expert advice as to their significance, value and their maintenance through this program.
Fast-forward to 2011, when the museum Council was formed, and our CEO, Brian Moynihan, became one of its members. Our company became a founding donor in 2014 and, more recently, undertook to be a sponsor of the opening events that will take place throughout late September and early October of this year.
Building on some of our existing programs, the Bank also provided funding through our Art Conservation Project to conserve nine important works by African American artists, which will be a permanent feature of the museum’s exhibitry.
In addition, we were pleased to donate a collection of more than 60 photographs by Jeanne Moutoussamy-Ashe. The distinguished photographer developed this collection from 1977 through 1982, to document the unique culture of the Gullah community of Daufuskie Island in South Carolina.
The NMAAHC building’s lead designer David Adjaye and lead architect Philip Freelon, together with their architectural team Freelon Adjaye Bond/SmithGroup, won an international competition in 2009 to design and deliver the museum. Groundbreaking occurred in 2012. The nearly 400,000-square-foot museum will be the nation’s largest and most comprehensive cultural destination devoted exclusively to exploring, documenting and showcasing the African American experience.
The National Museum of African American History and Culture. Architectural photo by Alan Karchmer
The Menil Collection, Houston
Bank of America is the lead corporate sponsor for Picasso The Line, the first exhibition to explore the essential role of line drawing in the artist’s practice. Exclusively presented at the Menil Collection, this presentation underscores the long-standing commitment of the institution to drawing as a distinct art form, which brings viewers close to the progress of an artist’s mind.
Supremely gifted as a draftsman and fascinated from an early age by the highly linear art of nineteenth-century painter Jean-Auguste-Dominique Ingres, Pablo Picasso (Spanish, 1881–1973) made line drawings at every stage of his career, adapting them to the astounding variety of styles and themes he developed. Picasso has long been recognized as a master across disciplines and one of the most accomplished draftsmen of the last century. This exhibition will explore how he followed up on the groundbreaking lesson of Ingres, trying to resolve the three dimensions of form with a linear arrangement, thus relinquishing perspective.
Famous for pioneering Cubism in the early 1900s, Pablo Picasso pursued drawing diligently throughout his career. Settling in Paris in 1904, Picasso established himself as a prominent participant in avant-garde circles of that city, absorbing, transforming and originating some of the most influential ideas of his time. Picasso’s work convinced John and Dominique de Menil where other modern art had failed. Initially reluctant to engage with the art of their time, as Dominique stated, “The reservations that at first tempered admiration vanished before the genius of the greatest artist of our time.”
Picasso The Line includes drawings from the most important periods of the artist’s long career; it gathers close to 100 of his works on paper that span a wide range of mediums, from pen or pencil to charcoal and collage. The exhibition presents work from public and private collections in the United States and Europe dating from 1901–1902 (shortly after Picasso settled in Paris) through 1970, not long before his death in 1973. The exhibition includes seldom-seen drawings by Picasso from the Menil’s holdings, as well as works on loan that have never before been exhibited in the United States.
Picasso The Line is organized by guest curator Carmen Giménez, founding director of the Museo Picasso Málaga, whose previous exhibitions have included the groundbreaking Picasso and the Age of Iron (1993) and Picasso Black and White (2012–2013) for the Solomon R. Guggenheim Museum in New York, also sponsored by Bank of America. Clare Elliott, Associate Curator at the Menil Collection, has overseen the exhibition on behalf of the museum.
The Chicago Symphony Orchestra
Founded in 1891, The Chicago Symphony Orchestra (CSO), is widely regarded as one of the world’s greatest orchestras. Bank of America has partnered with the CSO for more than a decade, becoming Global Sponsor in the historic 2010/11 season when Maestro Riccardo Muti began his tenure as Music Director, and continuing through the Orchestra’s landmark 125th-anniversary season in 2015/16. Muti’s dedication to bringing live symphonic music of the highest artistic caliber to the broadest possible audience has served as the cornerstone of the CSO’s mission.
As part of our ongoing commitment to that mission, Bank of America is proud to sponsor the CSO’s International Tour scheduled to launch in January of 2017. As part of the 2016/2017 season, Muti and the CSO will tour Europe for the sixth time together, performing 11 concerts from January 13 to 27. Performances will take place in Paris, Hamburg, Aalborg, Milan, Vienna, Baden-Baden and Frankfurt.
Highlights of the tour include several debuts: the orchestra’s first appearance at the Philharmonie de Paris, on January 13; celebratory performances as the first international orchestra to appear at Hamburg’s brand-new, state-of-the art Elbphilharmonie, on January 14 and 15, part of the concert hall’s grand-opening week; followed by two concerts at the Musikkens Hus in Aalborg, on January 16 and 17.
The CSO will also make highly anticipated returns to the Teatro alla Scala in Milan, on January 20 and 21; the Musikverein in Vienna, on January 23 and 24; the Festspielhaus in Baden-Baden, on January 25; and the Alte Oper in Frankfurt, on January 27.
Among the featured works in the CSO’s tour repertoire are Paul Hindemith’s Concert Music for String Orchestra and Brass; Edward Elgar’s In the South (Alassio); Modest Mussorgsky’s A Night on Bald Mountain; Maurice Ravel’s orchestration of Mussorgsky’s Pictures from an Exhibition; Richard Strauss’s Don Juan; Pyotr Tchaikovsky’s Symphony No. 4; and Antonin Dvořák’s Husitská Overture—first performed by the CSO as part of its premiere concerts in October 1891.
Photo Credit: Chicago Symphony Orchestra, ©Todd Rosenberg Photography
Season Sponsor, Carnegie Hall
The world’s most famous concert hall
Bank of America is the proud Season Sponsor of Carnegie Hall. Carnegie Hall features the world’s finest orchestras, chamber ensembles and recitalists, as well as pop, world and jazz artists, along with new music and special commissions.
Carnegie Hall’s mission is to present extraordinary music and musicians on the three stages of this legendary hall, to bring the transformative power of music to the widest possible audience, to provide visionary education programs, and to foster the future of music through the cultivation of new works, artists and audiences.
Bank of America also supports Carnegie Hall’s Musical Exchange education program, which provides a global online community where young musicians (ages 13 and up) connect with each other, share their musical performances and participate in groups and projects led by professional artists from Carnegie Hall. Musical Exchange focuses on musical sharing, creativity and international collaboration. Young musicians from all over the world — at all levels and representing all musical styles — are invited to join the community, created by Carnegie Hall’s Weill Music Institute, the Hall’s education and community arm.
Some of the current projects under way include an extended online workshop called The Singer’s Audition Handbook, providing resources to help aspiring singers to identify, prepare for and successfully audition for educational and performance opportunities; Songwriting Exchange, where professional songwriters Deidre Rodman Struck and Mike Viola help students explore songwriting techniques through a series of creative prompts, video blogs and live chats; and a humanitarian project called Music from the Mountains, developed by violinist Hannah Schneider to encourage struggling musicians in the poverty-stricken, religiously and ethnically divided North Caucasus of Russia to transcend their circumstances and differences and unite through the power of music.
Carnegie Hall’s 126th season opens Thursday, October 6 with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra in a performance of Stravinsky’s vivid ballet scores for Pétrouchka and Le sacre du printemps (The Rite of Spring). Throughout its illustrious history, the Hall has played host to more than 10,000 premieres. Carnegie Hall’s commitment to new music continues with the second year of its five-year 125 Commissions Project, over the span of which at least 125 new works will be commissioned from today’s leading composers. Launched during the Hall’s 125th anniversary season, the project features new solo, chamber and orchestral music from both established and emerging composers, including works in the new season by Yves Chauris, Donnacha Dennehy, Sofia Gubaidulina, James MacMillan, Frederic Rzewski, Caroline Shaw, Chris Thile and Jörg Widmann, among others.
Building upon a recent and highly successful emphasis on early-music programming, Carnegie Hall leads a citywide festival — La Serenissima: Music and Arts from the Venetian Republic — in February 2017 with concerts that feature vocal masterpieces and virtuoso instrumental music that emanated from the Republic that flourished for more than 1,000 years until it fell to Napoleon in 1797. Highlights include a survey of music from Venice, Istanbul, Cyprus and Crete by Jordi Savall and his ensembles Hespèrion XXI, Le Concert des Nations and La Capella Reial de Catalunya.
The festival extends throughout New York City with events at leading cultural institutions, including lectures, art exhibits, panel discussions and other performances that examine not just the unparalleled cultural innovations of the Venetian Republic, but also the scandalous, ribald and libertine history that the passage of time has rendered less familiar.
Carnegie Hall is proud that the music education and community programs of the Weill Music Institute (WMI) will now serve more people than ever before — nearly 600,000 participants during the coming season. Highlights include a renewed focus on expanding access to instrumental and orchestral instruction nationwide through NYO2 and PlayUSA, two initiatives that target communities underserved and underrepresented in classical music.
In summer 2016, the National Youth Orchestra of the United States of America (NYO-USA), featuring the country’s best young players ages 16–19, is led by conductor Christoph Eschenbach in a concert at Carnegie Hall that also features pianist Emanuel Ax, before NYO-USA embarks on a European tour with conductor Valery Gergiev and pianist Denis Matsuev.
Link Up, a WMI program for grades 3–5 offered for free to more than 90 orchestras nationally and in selected international locations, continues to grow, adding a fourth curriculum, The Orchestra Swings, and Musical Explorers, for grades K–2, continues to serve students across the country. WMI’s Summer Music Educators Workshop brings teachers from across the nation together to share best practices and cultivate a strong community of music educators. Among WMI’s acclaimed master classes and workshops for young musicians, Joyce DiDonato, Marilyn Horne, Dame Felicity Lott, Margo Garrett, The Tallis Scholars and Jonathan Biss lead sessions in the 2016–2017 season.
Photo: ©Jeff Goldberg/Esto
Nation to Nation: Treaties Between the United States and American Indian Nations
Bank of America is pleased to sponsor Nation to Nation: Treaties Between the United States and American Indian Nations, on view at The Smithsonian’s National Museum of the American Indian from September 21, 2014, through fall 2018.
Nation to Nation, 10 years in the making, brings together the largest historical collection of treaties made between the United States and American Indian Nations, along with more than 125 related artifacts, photographs and contemporary objects. It is divided into five chapters: Introduction to Treaties; Serious Diplomacy; Bad Acts, Bad Paper; Great Nations Keep Their Word; and The Future of Treaties.
Introduction to Treaties provides an overview of the vastly different perspectives held between non-native settlers and Native Americans, from concepts of land ownership, civic organization and leadership to the very nature and purpose of diplomacy.
Serious Diplomacy reveals the initial good intentions of settlers of the early republic, seeking security and peaceful coexistence. One of the earliest treaties on display is the Treaty of Canandaigua, signed in 1794 by members of the Iroquois Confederacy, Cornplanter, Red Jacket and Handsome Lake, and President George Washington. It allowed for the establishment of Indian territories and provided annual compensation to tribes in exchange for free passage through their lands and access to their harbors and rivers.
Bad Acts, Bad Paper highlights the events that transpired in the 1800s, when the United States’ territorial ambitions led it to craft treaties designed to confiscate Indian lands and push Native Nations west of the Mississippi. These nations also fell victim to the competing interests and conflicts between individual states and the federal government. Many states sought and won exemptions from federal treaties and went on to take the law, and Indian territories, into their own hands.
Great Nations Keep Their Word focuses on the 1900s, when the surviving Native Nations more successfully appealed for the enforcement of treaties and their rights. Efforts by Congress to nullify many pre-existing treaties were met with strong opposition and eventual defeat, while others would ultimately be struck down in U.S. courts. These victories helped to restore both the dignity and self-determination of the Native Nations.
The Future of Treaties focuses on the impact that existing treaties continue to have on relations between the United States and Native Nations and points to a future likely to be filled with both struggle and hope.
Thomas Jefferson peace medal, 1801, owned by Powder Face (Northern Inunaina/Arapaho), Oklahoma Bronze Copper alloy, hide, porcupine quills, feathers, dye, metal cones
Photo credit: Walter Larrim
American Epics: Thomas Hart Benton and Hollywood
Bank of America is pleased to sponsor American Epics: Thomas Hart Benton and Hollywood, on view at the Milwaukee Art Museum, Milwaukee, Wisconsin, from June 10, 2016, to September 5, 2016. The exhibition was previously on view at the Amon Carter Museum of American Art, Fort Worth, Texas, from February 6 to May 1, 2016; the Nelson-Atkins Museum of Art in Kansas City, Missouri, from October 10, 2015, to January 3, 2016; and the Peabody Essex Museum in Salem, Massachusetts, from June 6 to September 7, 2015.
This is the first major exhibition on Thomas Hart Benton (American, 1889–1975) in more than 25 years and the first to explore important connections between Benton's art and the movies. The exhibition gathers more than 100 works and pairs curated scenes from Hollywood movies with Benton's art from the 1920s through the 1960s that take visitors on a journey through America's mythology and national character in the first half of the twentieth century.
After working briefly in the silent film industry, Benton became aware of the power of storytelling in motion pictures and developed a cinematic style of painting that merged classic European traditions and modern film production narrative style. In paintings, murals, drawings, prints and illustrated books, Benton captivated the public with his uniquely twentieth-century visuals to communicate epic narratives as memorably as the movies of his day. He wanted to capture the feel of motion pictures on canvas: the impression of three-dimensional space, action and lighting effects. To achieve this, Benton adopted techniques used by sixteenth-century Italian painters to sculpt and illuminate clay models before sketching the forms to work up a final painting. Early filmmakers also adopted these Old Master techniques to study scene composition. Benton's painstaking artistic process parallels the storyboard-to-final-take methods developed by the film industry.
Searching for work and opportunities in the 1920s, Benton became a set painter on silent film productions in Fort Lee, New Jersey—the nation's "first Hollywood."
Benton became intensely aware of the motion picture industry's rising influence and appeal to the public. Themes of cultural identity, westward expansion, prejudice, tolerance and the American Dream were given epic treatment on movie screens, and Benton sought to capture them. The artist embarked on an independently produced mural series, American Historical Epic. Painted between 1920 and 1928, the series measures more than 60 feet in length. Benton selected episodes from American history familiar from 1920s films, and he depicted the nation's past in ways to engage the burning issues of the day: citizenship, race relations and national identity. Benton started traveling regularly around the country in search of distinctly American subject matter. Just as in Hollywood films, he acknowledged typecasting as a way to transform the people he met into a cast of American characters, among them Yankees, bootleggers, musicians and cotton pickers. Entertained by his characterizations, 20th Century Fox commissioned Benton to create a series of lithographs in 1940 to promote John Ford's adaptation of John Steinbeck's best-selling novel The Grapes of Wrath.
Benton's celebrated mural cycles such as America Today (1930-31, The Metropolitan Museum of Art, New York) defined him as a public artist and made him famous. His self-portrait appeared on the cover of TIME magazine in 1934. In 1937 he published his autobiography, An Artist in America, and LIFE magazine sent him to Hollywood on assignment to portray the industry at the height of its Golden Age, when two-thirds of Americans went to the movies every week. With precise detail, his 1937-38 painting Hollywood captures the realities of a bustling film set. During his month-long assignment in Hollywood, Benton drew more than 400 graphite sketches to create 40 finished ink-and-wash drawings. The exhibition includes more than a dozen of these images, which closely portray the culture, mechanics and politics of the film industry.
When America entered World War II, Benton produced Year of Peril, a mural series intended as a wake-up call to his fellow citizens about the horrors of war. "War Art Creates Sensation" is the title of the 1942 Paramount Newsreel featuring Benton and the series of graphic, violent propaganda paintings. Informed both by Hollywood motifs and the artist's memories of seeing soldiers leaving for war, Benton painted Shipping Out in 1942. The composition recalls the final scene of the celebrated 1930 anti-war movie All Quiet on the Western Front, when each soldier turns to glare directly at the viewer and bids a final farewell.
In the 1950s and ‘60s, Benton revisited the American West and painted landscapes of the Great Plains, the Grand Tetons and the Rocky Mountains. This "grand scenery," as Benton called it, inspired him to explore the visual vocabulary of Hollywood westerns and to think of his palette in terms of the rich saturation of Technicolor. Benton's final Hollywood commission was a 1954 promotional painting for The Kentuckian, starring Burt Lancaster as "Big Eli."
Thomas Hart Benton, Self-portrait with Rita, c. 1924 oil on canvas, 49" x 39 3/8" (124.5 x 99.9 cm) National Portrait Gallery, Smithsonian Institution, Washington, Gift of Mr. and Mrs. Jack H. Mooney NPG 75.30.
Photo courtesy of National Portrait Gallery, Smithsonian Institution / Art Resource, NY. Art © T.H. Benton and R.P. Benton Testamentary Trusts / UMB Bank Trustee / Licensed by VAGA, New York, NY
Alvin Ailey American Dance Theater
Bank of America is the International Tour Sponsor for Alvin Ailey American Dance Theater.
Enabling major American performing arts organizations to tour internationally is part of Bank of America’s efforts to increase cultural understanding and open opportunities for dialogue through the arts. At each destination, thousands of people enjoy masterful performances and share cultural experiences with fellow audiences around the world.
Alvin Ailey American Dance Theater has been celebrating the African-American cultural experience and the American modern dance tradition for more than 50 years. Recognized by the U.S. Congress as a vital “Cultural Ambassador to the World,” the Company has performed for more than 23 million people in 48 states and in 71 countries on six continents.
Under the leadership of its artistic director, Robert Battle, the Ailey Company will bring its uplifting artistry to a dozen European cities. Among the Company’s diverse repertory, audiences will enjoy inspiring performances of such classics as Cry, the female solo made famous by Judith Jamison and dedicated to “all black women everywhere — especially our mothers”; Night Creature, a dazzling ballet set to the music of Duke Ellington; and Revelations, the Company’s signature American masterpiece inspired by Alvin Ailey’s childhood memories of life in rural Texas, and the song-sermons, gospel songs and holy blues he experienced as a parishioner in the Baptist Church.
Since its debut in 1960, Ailey’s Revelations has moved audiences around the world through its powerful storytelling and soul-stirring music, evoking timeless themes of determination, hope and transcendence. More people have seen Revelations than any other modern dance work in history.
In addition to these classics, the Company will premiere Robert Battle’s 2015 work, Awakening, and celebrated choreographer Ronald K. Brown’s 2015 Cuban-inspired creation, Open Door, set to the Grammy Award–winning music by Arturo O’Farrill and the Afro Latin Jazz Orchestra.
From September 6 to October 19, the Company will perform throughout England, Wales and Scotland, with inaugural debuts in Southampton and Canterbury, England. On October 22 and 23, the Company returns to Salle Métropole in Lausanne, Switzerland, followed by seven performances at the Tivoli Concert Hall in Copenhagen, Denmark, from October 26 to October 30.
Alvin Ailey American Dance Theater was founded in 1958 by dancer/choreographer Alvin Ailey to share the richness of African-American culture and American modern dance with the world.
Caption Credits: Linda Celeste Sims and Yannick Lebrun. Photo by Andrew Eccles
SFMOMA’s grand transformation: The largest modern art museum in the United States opens
Bank of America is pleased to support the new San Francisco Museum of Modern Art (SFMOMA), which recently opened its doors after a three-year transformation. As a Premier Sponsor, our support extends to SFMOMA’s special exhibitions and art, education and community programs. Among the exhibitions sponsored by Bank of America is the inaugural exhibition The Campaign for Art: Modern and Contemporary.
Partnering with architecture firm Snøhetta, SFMOMA’s 235,000-square-foot building expansion will nearly triple gallery space and include 45,000 square feet of art-filled space open free of charge. SFMOMA will be the largest museum for modern and contemporary art in the United States, and attendance will total more than 1 million visitors annually. The new SFMOMA will offer new ways to inspire, educate and engage visitors, through seven floors of galleries, special exhibitions and absorbing digital learning initiatives. The new Pritzker Center for Photography will be the largest space in any American art museum dedicated to the exhibition, research and interpretation of photography. In addition, admission will be free for visitors age 18 and under. The new museum will provide a showcase for works by Alexander Calder, Chuck Close, Frida Kahlo, Ellsworth Kelly, Agnes Martin, Jackson Pollock, Gerhard Richter, Richard Serra, Cindy Sherman, Andy Warhol and many others, along with postwar and contemporary artworks from the 1,100-piece Doris and Donald Fisher Collection.
The Campaign for Art: Modern and Contemporary, on view from May 14 through September 18, is one of several exhibitions highlighting contributions from the museum’s Campaign for Art. This installation will introduce a wide range of newly committed and gifted modern and contemporary works, filling in gaps and building on strengths of SFMOMA’s collection. Illustrating the extraordinary growth in every curatorial department, this exhibition will present a multidisciplinary selection from donated works to Painting and Sculpture, Photography, Media Arts and Architecture and Design. Highlights include paintings by Jackson Pollock, Jasper Johns and Robert Rauschenberg, and an entire gallery dedicated to Joseph Beuys.
The exhibition is organized around notable aesthetic breakthroughs and constellations of related European, Bay Area, and other American artists. The dawn of the twentieth century saw the rise of abstraction in tandem with the explosive growth of urban centers. Art of postwar Germany has been a particular focus for the museum over the past 25 years. The museum’s long-standing commitment to artists working in California, and especially in the Bay Area, has also been greatly reinforced by the Campaign; an array of such works are featured here and In Art of Northern California: Three Views. Photography has been fundamental to SFMOMA since the museum’s founding, and a gallery devoted to the late work of Diane Arbus showcases a major addition to the photography collection. Media arts highlights include historic pieces by performance and video pioneers Ant Farm, Lynn Hershman Leeson and Nam June Paik. The architecture and design collection presents a selection of chairs, each of a single material, and a group of experimental works of architecture by contemporary practitioners that bring innovation into focus.
This presentation of modern and contemporary works on paper inaugurates SFMOMA’s first space dedicated to the medium. Part one of a two-part exhibition, it reveals the rich array of drawings, collages and watercolors pledged to the museum through the Campaign for Art. Together the works on view reflect diverse creative approaches, including explorations of radical abstraction, conceptual control and psychological experience.
Photo credit: Snøhetta expansion of the new SFMOMA; photo: © Henrik Kam, courtesy SFMOMA.
The Met: HD Live in Schools
Major funding for The Met: HD Live in Schools was made possible by Bank of America, with program support provided through a partnership with the New York City Department of Education and other school districts across the country.
Through HD Live in Schools, teachers, students and parents can experience the world’s greatest conductors, directors, musicians and singers in riveting productions. The program, which uses opera to teach music, theater, history and English language arts, reaches students in five New York City high schools and 40 school districts in 30 states throughout the country. Teachers receive educator guides and annual training opportunities that enable them to conduct in-class workshops, which prepare students to attend live movie theater transmissions of operas—direct from the Met stage—all free of charge.
Each opera is chosen based on a variety of considerations, including the opera’s applicability to the general curriculum and engaging content for young audiences. Last season’s featured operas included Richard Strauss' Elektra, Alban Berg's Lulu, Giuseppe Verdi's Otello, as well as revivals of Giacomo Puccini's Turandot and Madama Butterfly.
Elektra is the riveting ancient Greek tale of the title character’s quest for vengeance for the murder of her father, Agamemnon. Renowned soprano Nina Stemme played the title role.
Lulu is considered one of the most important stageworks of the twentieth century. It tells the story of a young dancer who rises in German society through her relationships with wealthy men, but who later meets a tragic fate. Soprano Marlis Petersen played the title role.
Giuseppe Verdi’s Otello, based on Shakespeare’s masterpiece and originally performed at the Met in 1891, brought together an outstanding cast led by Aleksandr Antonenko in the title role.
Two revivals of Giacomo Puccini’s work were brought to the Met stage last season, Anthony Minghella’s production of Madama Butterfly and Franco Zeffirelli’s production of Turnadot. Set in the port city of Nagasaki at the end of the twentieth century, Madama Butterfly is the story of a young geisha who clings to the belief that her arrangement with a visiting American naval officer is a genuine marriage. Soprano Kristine Opolais reprised her role in the original production. Puccini’s Turnadot—his final opera—is an epic fairy tale about a Chinese princess whose riddles her suitors must solve, on pain of death if mistaken, in order to win her hand. Sopranos Lise Lindstrom and Nina Stemme took turns in the title role.
Photo Credits: EXPLORING PARTNERSHIPS: Ken Howard/Metropolitan Opera.