2011路2012
Annual report
Table of contents President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Fall Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Winter Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 COC Financial Statements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Spring Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 COC and COHC Boards of Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Government Support and Major Corporate Sponsors . . . . . . . . . . . . . . . . . . . 22 2011/2012 Sponsors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Icons Key
Fundraising is a fundamental source of revenue, without which the COC could not pursue its core artistic projects.
We are an active contributor and collaborator within our community, whether that means supporting the bee population with our own rooftop colony or offering diverse musical experiences beyond the mainstage.
Our generous supporters enjoy exclusive benefits and access to a behind-thescenes world where their contributions are transformed into incredible art.
We are committed to keeping opera accessible and running a broad range of education programs to foster life-long, meaningful engagement with the art form.
The general public can take advantage of the fun to be had at the COC’s signature parties and events.
We have a bright future; through programs like the Ensemble Studio we work not only to strengthen our own prospects but to keep opera a vital art form for the next generation of Canadians.
For complete cast and creative team information, as well as a comprehensive list of donors, supporters and committee members who made this season possible, please see coc.ca/1112AnnualReport
Home to the BEST Producing opera takes the combined efforts of hundreds of people, as they balance an extraordinary number of details – artistic, technical, managerial and financial – in order to run a successful opera company. We see the spectacular results of those efforts on our stage in every production. And for the thousands of individuals among us who have dedicated untold hours and dollars to the support of the COC and its production of great opera, our artistic achievements are gratifying indeed. In the financial results that you will have received, we show yet another balanced budget this year. But I feel I must draw your attention to trends in those results that challenge your company in fundamental ways. First, we reported less ticket revenue for the second year in a row, this year down by about 6% from last season. Close analysis of our subscriber base shows that the attrition rate of long-term subscribers is both low and stable, pointing to tremendous support and loyalty from our base of over 9,000 subscribers. But in the face of economic stress, compounded by the relatively recent imposition of the HST, we continue to see only moderate demand for single tickets, and sales of new subscription and single tickets have declined. We are working hard on new initiatives to reverse these trends but they remain a significant challenge. The second trend you may notice is that our costs, both human and material, are continuing to rise each year, a long-term pattern which has become more difficult to manage in the face of declining earned revenue. The final trend is in the support from our endowment, which almost doubled, magically eliminating what would otherwise have been a deficit of about $1.4 million. While this might seem like terrific news, over a million dollars of that grant were from funds that are not the income from investments but rather a return of operating surpluses that were generated and put away years ago for a rainy day. Well – it’s raining. And, although this year all of us here helped raise about $9 million in donations to accompany our relatively stable government funding, opera is expensive and getting more so. There is not one opera house in the world that can sell tickets at a price that reflects the cost of production. Our mission at the COC is to subsidize what could never exist in the commercial world because we, and thousands of others, believe in art and artists, and in
what great art can do for people’s lives. We are committed not only to the production of great art, but to finding a way to make it more accessible to all Canadians. But, by that measure, we are currently producing more art than we can afford, and are paying for it from capital that is not self-sustaining. And that forces us to make painful decisions, like the eliminations of programming and modest reductions in performances. Those decisions are painful because they go against everything that we are here to do in expanding the accessibility, reach and scope of opera production in Canada. Through all of this, the support of our subscriber base is of paramount importance and it remains as strong as ever. And we know that to justify the continued support of our subscriber base, we can never allow our financial challenges to compromise the product that we put on stage. We have raised the bar for opera in Toronto and we must raise it ever higher. That means more new productions, working with the best artists and cultural visionaries, and allowing them to help us create art for today and tomorrow. It’s about balancing our artistic and our financial potential. It’s about facing and surmounting the myriad of challenges that come our way. In the end, it’s the opera we put on stage that defines our company as a beacon of artistic excellence for our community, both here and abroad. To that end, we were pleased to announce the re-appointment of both our General Director Alexander Neef and our Music Director Johannes Debus. It is with visionary leaders like these men, that we can guarantee the long-term fulfillment of our artistic potential. To support our artistic leaders on their mission, we on the Board, in the seats and throughout the opera community in Canada, need to overcome fundamental challenges – from increasing fundraising and ticket revenues, to creating attendee and donor initiatives that draw more new people to us, and presenting the relevant and compelling programming that can keep our base of subscribers strong. As I move to Chairman following the end of my two-year tenure as President this fall, I have great hope for the future, and I know that the sound advice and unbridled enthusiasm of my successor, Tony Arrell, is vitally important. I offer my sincere thanks to my predecessor, Paul Spafford for the leadership, generosity and wisdom gained from his 18 years with this company. My fellow Board members deserve our thanks for their constant and unmitigated support, as do the COC staff, artists and volunteers – all of whom are responsible for making the Canadian Opera Company home to the best in so many ways.
Philip C. Deck President, Canadian Opera Company 3
Fall 2011 COC Premiere
Iphigenia in Tauris Christoph Willibald Gluck September 22 – October 15, 2011
“The entire production of Iphigenia in Tauris that launched the Canadian Opera Company’s current season is one to make you thankful that artists like these are here to share their gifts with us.” Toronto star
Susan Graham in the title role.
Robert Carsen, the master of clarity and simplicity on stage, brought his exceptional production of Iphigenia in Tauris to the COC (only months after his triumphant return to the company with Orfeo ed Euridice in 2010/2011). Starring the incomparable mezzo-soprano Susan Graham in the title role, this production virtually defied description, gliding effortlessly between devastatingly expressive singing and tightly choreographed, sleight-of-hand theatrics. Set in the black, featureless box of her own mind, Graham’s Iphigenia (and Katherine Whyte for one performance)
4
relived her family’s horrific past, while negotiating the release of her brother Orestes (Russell Braun) and his friend Pylades (Joseph Kaiser) from the cruel punishments of Thoas (Mark S. Doss). Conductor Pablo Heras-Casado exercised his specialty in the Baroque repertoire, returning to the COC (after his debut the previous season with Nixon in China) to lead the COC Orchestra, Chorus, several past and present Ensemble members and a troupe of dancers to glorious effect. Production co-owned by Lyric Opera of Chicago, San Francisco Opera and Royal Opera House Covent Garden
Voices of Tomorrow On November 28, 2011, the COC opened up the final round of Ensemble Studio auditions to a public audience. The sold-out event in the Richard Bradshaw Amphitheatre in the Four Seasons Centre for the Performing Arts highlighted the wealth of talent available in Canada, as well as the COC’s ongoing role in fostering the development of young artists. After the competition, supporters of the event enjoyed an intimate dinner with the finalists in the Henry N. R. Jackman Lounge. The Canadian Opera Company is grateful to the following for their support of the inaugural Ensemble Studio Competition: Laurie & Fareed Ali, Earlaine Collins, Ninalee Craig, George & Kathy Dembroski, Jo Lander, Marjorie & Roy Linden, Trina & Don McQueen, Sue Mortimer, Colleen Sexsmith, Sandra L. Simpson, The Stratton Trust, Brian Wilks and an anonymous donor. The COC Ensemble Studio Competition was presented in part by RBC Foundation and the Hal Jackman Foundation.
More than 160 aspiring singers performed in preliminary auditions across the country
10 Finalists
4 Prizes
$11,000 in prize money
(l – r) Prizewinners Claire de Sévigné (Second), Sasha Djihanian (First), Owen McCausland (Third), Lindsay Barrett (Audience Choice).
Up Close & Personal 7 Opera 101 events brought illustrious opera artists, like Susan Graham and Russell Braun (photo at right), to pubs in the city for informal, lively discussions with the public.
“What I really hate is the idea of us being in that classical opera-nerd silo. I think we’re part of the larger cultural landscape that includes the AGO, the ROM, the National Ballet and many smaller organizations. We want to be part of that landscape, and we want to interact with it in all forms.” Alexander Neef, coc general director
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Fall 2011
New COC production
Rigoletto giuseppe verdi
September 29 – October 22, 2011
“This production is nothing short of a musical feast.” Toronto sun
Ekaterina Sadovnikova as Gilda and Quinn Kelsey as Rigoletto.
If Verdi’s Rigoletto takes place almost as much in the imagination of the title character as it does anywhere else, then director Christopher Alden and designer Michael Levine’s decision to set the opera in a highly stylized Victorian men’s club is incisive: what other space is as suggestive of Rigoletto’s nightmarish relationship to patriarchy, power and commerce as the quintessential site of unchecked male privilege? Aided immeasurably by Johannes Debus’s sumptuous rendering of the score, this lavishly designed and performed production left no physical or psychological detail unexplored. With 12 performances and two casts of lead characters, audiences were treated to the talents of several of the world’s most exciting young singers.
Quinn Kelsey and Lester Lynch each brought pathos and pain to the role of Rigoletto, the tragic jester who shields his innocent daughter Gilda, sung by Ekaterina Sadovnikova and COC Ensemble soprano Simone Osborne, against the wiles of Dmitri Pittas and David Lomelí’s lascivious Duke of Mantua. Robert Pomakov’s vengeful Count Monterone, Phillip Ens’s chilling Sparafucile, and Kendall Gladen’s opportunistic Maddalena also helped bring this Rigoletto to magnificent life. This new COC production of Rigoletto was generously underwritten in part by Tim & Frances Price, Judy & Wilmot Matthews, and Gail & Bob Farquharson. A new COC co-production with English National Opera based on the 2000 Lyric Opera of Chicago production directed by Christopher Alden and designed by Michael Levine
$6,300,000 individual commitments Individual supporters play a crucial role in our ability to mount new COC productions, including our Rigoletto in the fall, which required the creation of an opulent set, exquisite period costumes and dozens of props, overseen by designer Michael Levine.
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Fall bash Operanation 8: A Muse Ball continued its multidisciplinary approach to the social fundraiser with art installations, fashion displays, and dance-pop trio Austra and special guest Rufus Wainwright performing at this year’s event.
Starting on the Right Note The Xstrata Ensemble Studio School Tour brought Isis and the Seven Scorpions and Hansel and Gretel to 19,072 children throughout Ontario’s schools and communities. Most of them were seeing live opera for the first time.
$100,000 “For the music, fashion, art and media people who attended on Friday, Operanation is a hot party.”
“The Xstrata Ensemble Studio School Tour combines the power of art and education in a unique way that helps create lasting benefit for the communities in which we live and work.”
The Grid
Ian Pearce, Chief Executive of Xstrata Nickel
Net Raised in support of the Ensemble Studio
COC
NYC
A group of individual underwriters joined Alexander Neef on the first-ever General Director’s Tour to New York City, where they attended performances at the Metropolitan Opera, toured renowned designer George Tsypin’s (pictured far right) warehouse studio in Queens, and dined with opera artists slated for future appearances with the COC. 7
Winter 2012
COC production
TOSCA giacomo puccini
January 21 – February 25, 2012
“From the first explosive chords, these musicians made this familiar score sound like a thing reborn.” The globe and mail
Carlo Ventre as Cavaradossi and Adrianne Pieczonka as Tosca.
It has been said that all you need for a successful Tosca is a great Tosca. Luckily for us, the remount of this COC production, which made its company premiere three seasons ago, boasted not one, but two great sopranos as Puccini’s ultimate diva: Adrianne Pieczonka in her Canadian role debut and soprano Julie Makerov. The entire production, in fact, threw into sharp relief the sublime artistic heights now attainable on the COC stage. Tenors Carlo Ventre and Brandon Jovanovich earned thunderous applause for their passionate work as Tosca’s lover, Cavaradossi. Baritone Mark Delavan was rewarded at every curtain call for a Scarpia that
fully embodied villainy. In perfect emotional synchronicity with the main cast, the COC Orchestra and Chorus gave a brilliant and evocative interpretation of Puccini’s score, led by Italian maestro Paolo Carignani in his company debut. Tosca might be a sure-fire crowd pleaser – as evidenced by the sale of a whopping 28,132 tickets – but this production made it clear that when stars align, even the most well-known piece can feel brand new. This production of Tosca was originally made possible through a generous gift from Delia M. Moog. COC co-production with Norwegian Opera and Ballet
“Sponsoring Adrianne is a real joy and a rewarding experience – she’s a great Canadian icon and it’s uplifting for me to be involved.” Jack Whiteside on his multi-year artist sponsorship of Adrianne Pieczonka
Artist sponsorships allow the COC to engage emerging artists of great promise, as well as attract established artists already at the top of their field, like Ms Pieczonka, who will be returning to the COC in coming years. 8
Always Buzzing
In 2011/2012
The Four Seasons Centre for the Performing Arts is an exciting hub of artistic and cultural activity for the city.
360 days The building was home to, or in use by, the COC (174), The National Ballet of Canada (82), Dancap (48), private third party events (45), or maintenance (11)
372
requests received: For fundraisers, receptions, concerts, performances, dinners, AGMs and tours (106 requests fulfilled) Single largest tenant: 600,000 bees on the roof
Beyond Mainstage
Beyond Ordinary
The Free Concert Series in the Richard Bradshaw Amphitheatre presented an incredible range of musicians and artistic practices in 2011/2012. The free concerts allow our headlining artists, like Julie Makerov, Ekaterina Sadovnikova, and Russell Braun (above right, with Ensemble tenor Christopher Enns), to explore new or complementary repertoire beyond the mainstage.
One measure of the diversity is the array of instruments seen and heard in the Richard Bradshaw Amphitheatre, from classical strings, woodwinds and pianos to Japanese taiko drums, 18th-century chitarra battentes and, on one occasion, a six-foot motorized conveyor belt, played by Rick Sacks (above).
Scotch and Tosca Before the winter run opened, COC supporters attended a behind-the-scenes preview of the stunning costumes featured in Tosca. With Scotch samples from The Balvenie on hand to warm up the attendees, it hardly felt like winter was coming.
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Winter 2012 Canadian Premiere
Love from afar Kaija saariaho
February 2 – 22, 2012
“Yet another indication that, when it comes to exploring how deeply original the art of opera can be, the COC deserves our awestruck thanks.” Toronto star
Russell Braun (centre) as Jaufré Rudel.
“BMO was thrilled to sponsor Love from Afar. This not only allowed us to align our brand with one of Canada’s leading arts organizations but to support new operatic work at the forefront of live theatre. The fact that Kaija Saariaho attended the premiere – the COC’s first mainstage opera by a female composer – made this an even more exciting opportunity for fostering arts and culture in our community.” Nada Ristich, Director, Corporate Donations, BMO Financial Group
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Kaija Saariaho’s Love from Afar made its second appearance in North America with the COC in its Canadian premiere. Saariaho’s haunting score and Amin Maalouf’s poetic libretto left no doubt as to why this is one of the 21st century’s most frequently performed operas. Johannes Debus led the COC Orchestra and Chorus, along with the exquisite three-person cast, in a mesmerizing unfurling of this captivating piece. Russell Braun once again demonstrated that he is one of the world’s best singing actors with his portrayal of Jaufré Rudel, the troubadour in search of true love. Canadian soprano Erin Wall made her COC debut as the wistful and ultimately resigned Clémence. Toronto mezzo-soprano Krisztina Szabó gained new fans as the mysterious Pilgrim who
brings the two lovers together in spirit, if not in body. The dreamscape, created by director Daniele Finzi Pasca and his creative associates, encompassed dancers, acrobats, and chorus members, all contributing to the magical illumination of the characters’ inner emotions, desires and imaginations. Love from Afar held audiences spellbound with its depiction of the sheer beauty and ineffable pain of longing and loss. Production sponsor
Co-production of the COC with English National Opera and Vlaamse Opera
Rewarding Personal Investment In addition to helping the COC realize its creative goals, sponsorship means exclusive opportunities to interact with the brilliant artists of the COC, from our very own Music Director Johannes Debus (right photo, centre) to Love from Afar composer Kaija Saariaho (left photo, centre).
Welcoming the World’s Best In the lead-up to the Canadian premiere of Love from Afar, two lunchtime performances as part of the Free Concert Series in the Richard Bradshaw Amphitheatre introduced Toronto to some of Ms Saariaho’s most powerful chamber and vocal works. She graciously gave an introduction at both concerts and was deeply impressed by Ensemble Studio members Jacqueline Woodley, Mireille Asselin and Rihab Chaieb’s (pictured right) iridescent performances, going so far as to remark that she had never been so moved at hearing her own work performed live before.
26 Works by female composers were presented as part of the 11/12 Free Concert Series 11
Canadian Opera Company
Condensed Financial Statements CONDENSED BALANCE SHEET
CONDENSED STATEMENT OF operations and net deficit
As at June 30 (in thousands)
For the year ended June 30 (in thousands)
Assets
2012
2011
Revenue Box office and fees
Current Assets
2012
2011
$ 10,991
$ 12,302
Fundraising
8,947
9,233
2,618
1,396
Grants
6,806
6,954
Due from Canadian Opera House Corporation
642
1,578
Contributions from The Canadian Opera Foundation
2,175
1,058
Due from The Canadian Opera Foundation
626
695
Other
823
1,527
5,481
5,839
822
480
Cash & cash equivalents
$
772
Accounts receivable
Other Assets Capital Assets, net
$
643
1,789 $
8,092
Contributions from Canadian Opera House Corporation
1,300
1,100
566
1,287
Unrestricted bequests Other Total Revenue
4,800
4,811
$ 35,585
$ 36,745
$ 22,412
$ 23,079
2,775
2,743
1,867 $
8,186
Expenses Production
Liabilities and Net Deficit
Communications
Current Liabilities
Development
1,971
1,693
General and administrative
3,170
3,148
Accounts payable and accrued liabilities
$
1,432
Deferred revenue Net deficit
$
1,377
Ensemble Studio Program
619
706
8,055
8,214
Education
431
378
9,487
9,591
(1,395) $
8,092
(1,405) $
8,186
Transfer to The Canadian Opera Foundation
566
1,287
3,631
3,701
$ 35,575
$ 36,735
Other Total Expenses Operating surplus Net deficit, beginning of year Net deficit, end of year
Box office 91% Average attendance
10 (1,415)
$ (1,395)
$ (1,405)
15%
Other Income
7 Total number of mainstage productions 67 Total number of performances
10 (1,405)
10%
Other Grants
31%
Box Office
125,238 Total attendance 42,216 Single tickets sold 77,509 Subscription tickets sold 9,777 Tickets sold to people under the age of 30 $3.2 million
25%
Fundraising
Single tickets revenue
$7 million Subscription ticket revenue $10.9 million Total ticket revenue (net) 12
19%
Government Grants
COC 11/12 operating revenues
The Canadian Opera Foundation
Financial Statements The Canadian Opera Foundation (the “Foundation”) acquires, holds in trust and applies funds to assist in the development of opera for the benefit of the Canadian Opera Company (the “Company”). The audited market value of the net assets held by the Foundation as at December 31, 2011, totalled approximately $25,352,000. These funds are not included in the accounts and financial statements of the Company. In addition, at December 31, 2011, the Foundation administered additional funds totaling $291,000 on behalf of the Company. This amount is not included in the accounts and financial statements of the Foundation. The following sets out the balance sheet and statement of revenue and expense for 2011 and 2010.
BALANCE SHEET
STATEMENT OF REVENUE AND EXPENSE
As at December 31 (in thousands)
For the year ended December 31 (in thousands)
Assets Miscellaneous receivables
2011 $
Investments (at market value)
24
2010 $
7
25,327
24,781
$ 25,351
$ 24,788
Revenue
2011
Investment income
2010
$
327
$
1,805
$
3,190
$
135
$
124
Donations and bequests
$
1,478
1,826 1,364
Expenses Liabilities and Fund Balances Accrued Liabilities
Investment and counsel fees and services $
Fund Balances
6
$
24
25,345
24,764
$ 25,351
$ 24,788
Administration and professional fees
31
29
166
153
Net revenue before grants
1,639
3,037
Grants to Canadian Opera Company and individuals
1,058
493
581
2,544
Net revenue Fund balances beginning of year Fund balances, end of year
fundraising contributed to the COC over the 2011/2012 season, supporting our
22,220 $ 24,764
5%
Special Events
Over 6,000 subscribers, donors, corporations and foundations
24,764 $ 25,345
19%
Corporate and Foundations
vision of becoming the finest opera company in North America.
$8.24 million
76%
Individual
Total fundraising revenue (net)
$6.3 million In individual commitments
COC 11/12 fundraising revenues 13
Spring 2012
“Five acts of magnificent operatic entertainment.” Toronto sun
Russell Thomas (centre, kneeling) as Hoffmann.
The tales of Hoffmann Jacques offenbach April 10 – May 14, 2012 After an absence of more than 20 years, Jacques Offenbach’s parade of glorious melodies returned to the COC with a first-rate cast. Punctuated by exaggerated set designs and costumed with 19th-century elegance, director Lee Blakeley’s production offered us the Romantic artist’s interior world filled with creative inspiration and erotic love. Russell Thomas and David Pomeroy’s sweet, ringing tenors were virtually tailor-made for the title role. Three electrifying sopranos – Andriana Chuchman, Erin Wall and Keri Alkema – interpreted Hoffmann’s triad of would-be loves, supported by Ensemble Studio members Ambur Braid as the elusive Stella and Ileana Montalbetti 14
as Antonia’s mother. Hoffmann’s poetic Muse and best friend, Nicklausse, was sung exquisitely by Ensemble graduate Lauren Segal, while star bassbaritone John Relyea portrayed the four villains with captivating stage presence in his much-anticipated COC debut, and Steven Cole won kudos for his four servants. Johannes Debus and the COC Orchestra and Chorus gave loving treatment to this buoyant opera, bringing out all the beauty of Offenbach’s fantastical world that affirms, in the end, our own humanity. Production of Vlaamse Opera
Our volunteers are Invaluable Youth Opera Lab The Youth Opera Lab is an opportunity for young adults aged 16 – 21 to see a work-in-progress at the COC. Along with an interactive workshop and meeting creative people behind our productions, like wig and make-up supervisor Sharon Ryman (above, left), participants attend two rehearsals. This free program enjoyed unprecedented levels of success in 2011/2012, with participants coming to Toronto from as far away as Ottawa, London and Trenton. Many of them have expressed an interest in the COC’s new Youth Ambassador Program, suggesting that our role of connecting with the next generation of opera-goers is achieving real results.
The COC is proud and appreciative of the hard work and enthusiasm of its many volunteers. We dedicated our spring run to their efforts, ambassadorship and energy.
150+ Volunteers
45,000 Hours Donated annually
Wine Auction Stock Rising The 13th Annual Fine Wine Auction expanded to a new venue at the Design Exchange, the restored art deco building that used to house the Toronto Stock Exchange.
$163,000 Net Raised
COC Wine Auction Record! $1,100 Winning bid for a jar of honey from our very own bees, living on the roof of our opera house
Farewell and thank you This year ARIAS (formerly the Canadian Opera Volunteer Committee) concluded its operations after more than 60 years of tireless volunteer work and fundraising success:
$6,000,000+ Raised by arias for the COC over six decades
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Spring 2012
“Congratulations to the COC – this one’s a keeper.” The globe and mail
Alan Held (left) starred as both Simone in A Florentine Tragedy and as the scheming title character in Gianni Schicchi, along with a large ensemble cast (below right).
A Florentine tragedy/ Gianni Schicchi Alexander zemlinsky/giacomo puccini April 26 – May 25, 2012 Pairing Zemlinsky’s little-known A Florentine Tragedy (1917) and Puccini’s Gianni Schicchi (1918) in this new COC double bill allowed the enduring questions of money and ownership, lust and greed to resonate with newfound relevance and immediacy. Thematic interconnections of Zemlinsky’s tragedy and Puccini’s comedy were further illuminated through director Catherine Malfitano’s setting of both pieces in the 20th century, but 80 years apart, in the same Florentine palazzo. Zemlinsky’s dark and taut power struggle and Puccini’s sprightly romp were dominated by the commanding presence of bass-baritone Alan Held. In Florentine, he was the menacing, cuckolded husband, joined by Gun-Brit Barkmin and Michael König as the two other sides of the adulterous triangle. Then, as the roguish title character in Schicchi, Held led the large
and hilarious cast including veteran singing actors Barbara Dever and Donato Di Stefano, debuting tenor René Barbera, Simone Osborne and six other current or former Ensemble members. There was no shortage of acclaim for the COC Orchestra and Sir Andrew Davis who, in his second turn with the COC as conductor, deftly mined the depths of both the lush Zemlinsky and the rollicking Puccini. Production Co-sponsors:
This new production of A Florentine Tragedy/Gianni Schicchi was generously underwritten in part by Riki Turofsky and Charles Petersen.
Opera Renaissance New productions are essential to keeping the COC a key player in the international opera community: They’re one of the best ways to attract a constellation of leading artists to the company while also providing a future revenue stream through rental and co-production opportunities. 16
WellOrchestrated Plan COC Music Director Johannes Debus introduced a new initiative through the Free Concert Series this year to promote the artists of our highly lauded orchestra.
Coming full circle In May 2012, the Ensemble Circle membership program, designed to court a new generation of arts lovers, celebrated its one-year anniversary! This community of like-minded individuals is clearly a resounding success: membership for 2012/2013 is already at capacity.
4 Recitals showcased their exquisite playing and clearly demonstrated why, with musicians like these, our orchestra is considered one of the best in the country
O Canada
“Gianni Schicchi was a triumph for the COC’s Ensemble Studio… No less than seven singers in the Schicchi cast were either current members or graduates of the COC Ensemble Studio and really held their own with the imported stars.” Queen’s Quarterly
Nearly 40% Of singers who appeared with the COC in mainstage productions this year are Ensemble Studio artists or alumni*
Year-End Matching Appeal
Support of the Ensemble Studio training program not only ensures that we have a bright future as a company, but that opera as an artistic form can be sustained in Canada.
$240,000 Net raised for the Ensemble Studio *Excluding the Ensemble Studio performance of Semele
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Spring 2012 COC Premiere
Semele George frideric handel May 9 – 26, 2012
“Both the adventurous staging and the consistently brilliant singing make Handel’s Semele by far the best opera production I’ve seen from the COC.” barczablog
Jane Archibald as Semele and William Burden as Jupiter.
Visual and performance artist Zhang Huan’s production of Handel’s Baroque masterpiece was set within a 450-year-old Ming Dynasty temple that he rescued from ruin – surely one of the oldest and most original opera sets ever. Zhang and costume designer Han Feng mixed the vivid colours and styles of imperial China with references to many Eastern disciplines and cultures, and grounded them with pure Western operatic underpinnings. Soprano Jane Archibald returned (after her 2011 COC debut in Ariadne auf Naxos) to shine in the devilishly difficult role of Semele. William Burden as the lusty god Jupiter, Allyson McHardy as both Semele’s sister (Ino) and rival (Juno), 18
along with Katherine Whyte, Anthony Roth Costanzo and Steven Humes, added to the magic of the production. Conductor Rinaldo Alessandrini brought his international reputation for direction of Baroque music and, along with the COC Orchestra and Chorus, played a large part in the production’s success. In the end, Semele transcended conventional theatrical categories and became the multi-disciplinary, -cultural and -sensorial hit of the COC’s 2011/2012 season. Co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation.
Production sponsor:
35+ special events
R&R On the Links The COC kicked off the summer with the KPMG Opera Golf Classic, held once again this year at the Scarboro Golf and Country Club.
$155,000 Net Raised
Post-performance toasts Backstage tours Working rehearsal dinners Wig and make-up demonstrations Parties Exclusive recitals
$2,500,000 for the Future In generous gifts from the Estate of Horst Dantz and Don Quick, Peter M. Deeb and The Slaight Family Foundation towards the Ensemble Studio. Significant gifts like these allow us to leverage matching contributions from the Department of Canadian Heritage. Over the last 11 years the COC has received over $5,000,000 in matching funds through the Canadian Heritage Cultural Investment Fund. It’s another way of promoting long-term financial stability and encouraging active philanthropic involvement with the COC.
Rihab Chaieb as Ino and Mireille Asselin as Semele.
These events are in keeping with our desire to maintain a vibrant opera community while giving our supporters exclusive access to everything they love about the company.
Young Singers Handel It
Ambur Braid as Semele and Christopher Enns as Jupiter.
Each year one performance of a mainstage production is cast with current or recent Ensemble members. On May 23, 2012, Semele was performed with six of the seven roles filled by current Ensemble artists, giving them important professional experience and exposure, not to mention earning critical and audience acclaim. This Ensemble Studio production was generously underwritten in part by Wendy J. Thompson and the late Samuel A. Rea.
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By the numbers Education & outreach
Adults, youth and families took part in our 47,652 education and outreach activities this year. 20 Education and Outreach programs in 2011/2012
1 School tour 19,072
3 Children's Programs 1,355
Adult 4 Young Programs 166
group & 6 School teacher programs 4,529
6 Adult Programs 22,530
Participants
Participants
Participants
Participants
Participants
76 Almost
15,000 People attended the series
premieres, 4 World all Canadian
88% Canadian artists
by living 40 Works composers
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438
Artists showcased
by female 26 Works composers
Chamber Music
8
Dance
Free events
11
Jazz
9
Piano
8
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World Music
Vocal
It Takes a Village Opera is a collaborative enterprise on a massive scale. people involved in creating our Rigoletto production:
people present on and off stage at each performance of Rigoletto:
2 conductor and assistant conductor 2 director and assistant director 1 chorus master 6 set and costume and lighting designers, and
1 conductor 1 chorus master 1 actor 13 soloists 20 chorus members* 17 supernumeraries 73 orchestra members 72 production personnel (including
associates and co-ordinators
157
scene shop carpenters, painters and staff, rehearsal technicians, props and costume shop staff, wig and make-up crew, stage manager and assistants, stagehands, wardrobe staff and dressers, SURTITLES™ producer/editor and assistants, and COC production staff
8 music staff including music and language
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assistant director, stage management, 27 stagehands/crew, 7 dressers, 12 wig and make-up running crew, SURTITLES™ assistant, and technical staff)
10
music staff (including librarians, coaches and artistic administration)
16
coaches, librarians, and production assistants
box office, development, and communications staff
179 soloists, chorus and orchestra members 18 supernumeraries and actors
73 ushers, bar staff, maintenance, housekeeping, security, and Four Seasons Centre administration staff
Total 373
volunteers (Speakers Bureau, Opera Shop, Jackman and Friends lounges)
*Rigoletto only had a male chorus, most operas have at least 40 members
Total 312
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C A N A D I A N OPER A COMPA NY a n d c a n a d ia n o p e r a h o u s e c o r p o r at i o n BO A RD s OF D I RECTORS 2 0 1 1 / 2 0 1 2 c a n a d ia n o p e r a c o m pa n y b o a r d o f d i r e c t o r s officers Mr. Paul B. Spafford, Chair Mr. Philip C. Deck, President Mr. Paul A. Bernards, Treasurer
Mr. John H. Macfarlane, Secretary Mr. Alexander Neef, General Director (ex officio)
Mr. Robert Lamb, Managing Director (ex officio)
Ms Merle Gobin (ex officio) Dr. Linda Hutcheon Ms Trinity Jackman Ms Pamela Jeffery Mr. Jeff Lloyd Mr. Stephen O. Marshall Ms Judy Matthews Mr. Geoffrey Matus Ms Trina McQueen Mr. Jonathan Morgan Mrs. Sue Mortimer Mr. Nicholas Mutton
Mr. Ian Pearce Ms Frances Price Mr. John Rothschild Mr. Arthur R. A. Scace, C.M. Ms Colleen Sexsmith Ms Sandra Simpson Mr. Philip Smith Ms Michele Leighton Symons Ms Kristine (Kris) Vikmanis Ms Karen Walsh Mr. John H. (Jack) Whiteside Mr. Tom Woods
Members Mr. Mark Appel Mr. H. Anthony (Tony) Arrell Ms Nora Aufreiter Mr. Barry Avrich Mr. Robert Brouwer Ms Marcia Lewis Brown Mr. Stewart Burton Mr. George S. Dembroski Mr. William Fearn (ex officio) Mr. David C. Ferguson Mr. Adam Froman Mr. Michael Gibbens honorary directors Mr. Joey Tanenbaum, C.M.
c a n a d ia n o p e r a h o u s e c o r p o r at i o n b o a r d o f d i r e c t o r s Mr. Arthur R. A. Scace, C.M., President & Chief Executive Officer Mr. Robert Lamb, Vice-President Mr. Paul A. Bernards, Treasurer Mr. John H. Macfarlane, Secretary
Ms Lindy Cowan, Director, Finance Mr. Alexander Neef, Chief Operating Officer Mr. Philip C. Deck Mr. David C. Ferguson
Hon. Barbara McDougall Mr. Jonathan Morgan Mr. Nicholas Mutton Mr. Paul Spafford
Photo Credits: Cover: Krisztina Szabó as the Pilgrim (centre) and Russell Braun as Jaufré (above) in the COC production of Love from Afar, 2012, photo: Michael Cooper. Page 3: COC President Philip C. Deck, photo: COC. Page 4: Susan Graham as Iphigenia in the COC production of Iphigenia in Tauris, 2011, photo: John Currid. Page 5: (top, l – r) Claire de Sévigné, Sasha Djihanian, Owen McCausland and Lindsay Barrett, photo: Chris Hutcheson; (middle) Susan Graham and Russell Braun, photo: COC; (bottom) COC General Director Alexander Neef, photo: bohuang.ca. Page 6: (top) Ekaterina Sadovnikova as Gilda and Quinn Kelsey as Rigoletto in the COC production of Rigoletto, 2011, photo: Michael Cooper; (bottom, left photo) Costume elements by Michael Levine, set and costume designer for Rigoletto; (bottom, right photo) costume fitting of COC chorus member John Kriter, with Michael Levine, photos: COC. Page 7: (clockwise from top right) Cast and creative team of 2011/2012 Xstrata Ensemble Studio School Tour production of Hansel and Gretel, photo: COC; (l – r) Phil Deck, Tim Price, Charles Petersen, Colleen Sexsmith, Frances Price, Kim Bozak, Rob Lamb, Don O’Born, Riki Turofsky, Judy Matthews, Wilmot Matthews, Anne Arrell, Alexander Neef, George Tsypin, photo: COC; Rufus Wainwright; Operanation 8; photos: eyecontact photography, 2011. Page 8: (top) Carlo Ventre as Cavaradossi and Adrianne Pieczonka as Tosca in the COC production of Tosca, 2012, photo: Michael Cooper; (bottom) Adrianne Pieczonka, photo: Andreas Klingberg. Page 9: (top) FSCPA, photo: Gary Mulcahey; (middle, left photo) Christopher Enns and Russell Braun, photo: Karen Reeves; (middle, right photo): Rick Sacks, photo: Tracy Kay; (bottom, left photo) The Balvenie scotch; (bottom, right photo) Costume and design elements by Kevin Knight, set and costume designer for Tosca, photos: COC. Page 10: (l – r) Acrobat Antoine Marc, Russell Braun as Jaufré, acrobat Ted Sikström and acrobat Annie-Kim Déry (in the air) in a scene from the COC production of Love from Afar, 2012, photo: Michael Cooper. Page 11: (photo-strip, l – r) Kaija Saariaho with Marjorie and Roy Linden; Love from Afar opening night party; COC Music Director Johannes Debus, photos: Dave Cox, 2012; (bottom, l – r) Jacqueline Woodley, Mireille Asselin, Kaija Saariaho and Rihab Chaieb, photo: Karen Reeves. Page 14: Russell Thomas as Hoffmann (centre, kneeling) in the COC production of The Tales of Hoffmann, 2012, photo: Michael Cooper. Page 15: (clockwise from top left): Youth Opera Lab participants, photo: COC; (l – r) John Wichelow, Ani Akgulian, Aline Akgulian, Alexander Neef, photo: COC; (Front row, l – r) Ruby Mercer and Jean Chalmers at the Britannia Ball, Canadian Opera Women’s Committee (COVC, ARIAS), 1963, photo: The Telegram, Toronto; (top) Wine Auction bar; (middle, l – r) Auctioneer Stephen Ranger and auction participant, photos: Anne Peacock; (bottom) COC honey jars, photo: COC. Page 16: (l – r) Alan Held as Simone, Michael König as Guido Bardi and Gun-Brit Barkmin as Bianca in the COC production of A Florentine Tragedy, 2012, photo: Michael Cooper. Page 17: (clockwise) (l – r) Ashleigh Semkiw, Trinity Jackman, Gillian Tweedie, photo: COC; COC Orchestra members, photo: Karen Reeves; A scene from the COC production of Gianni Schicchi, 2012, photo: Michael Cooper. Page 18: Jane Archibald as Semele and William Burden as Jupiter in the COC production of Semele, 2012, photo: Michael Cooper. Page 19: (clockwise from top left): (l – r) Henry Schnurbach, Dave Lazzarato, Dave Warner, Rob Brouwer, photo: Karen Walsh; (l – r) John McVicker, Americus Abesamis, Bruce Thomas; (l – r) Ayrton Dick, David Ruta, Tessa Laengert, Stephanie Applin, Emma Stainton, photos: Dave Cox; (l – r) Ambur Braid as Semele and Christopher Enns as Jupiter in the COC’s Ensemble Studio performance of Semele, 2012; (l – r) Rihab Chaieb as Ino and Mireille Asselin as Semele in the COC’s Ensemble Studio performance of Semele, 2012, photos: Michael Cooper. Back Cover: FSCPA, photo: Sam Javanrouh. 21
g ov e r n m e n t s u p p o r t The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments.
O p e r at i n g G r a n t s
ensemble studio & e n d ow m e n t s u p p o r t
s p e c ia l p r o j e c t funding For the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: Ontario Arts Council Ontario Cultural Attractions Fund Opera.ca Human Resources and Social Development Canada
Ma j o r C o r p o r at e s p o n s o r s 2 0 1 1 / 2 0 1 2 s e a s o n Presenting Sponsor of SURTITLES™ and supporter of Wheelchair Seating, Hearing-Assistive and Vision-Impaired Devices
Official Automotive Sponsor of the COC at the FSCPA
BMO Financial Group Pre-performance Opera Chats and BMO Financial Group Student Dress Rehearsals Production Sponsor, Saariaho’s Love from Afar
Major Supporter, Ensemble Studio Production Sponsor, Handel’s Semele
Presenting Sponsor Opera Under 30 and Operanation 8: A Muse Ball
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Xstrata Ensemble Studio School Tour
Production Co-sponsors, Zemlinsky’s A Florentine Tragedy and Puccini’s Gianni Schicchi
Official Spirit of the COC at the FSCPA
Official Canadian Wine of the COC at the FSCPA
KPMG Opera Golf Classic
Presenting Sponsor of the After School Opera Program and Summer Opera Camp
Preferred Fragrance
Official Airline Sponsor
Preferred Hospitality Sponsor
Official Media Sponsors
Digital Marketing Sponsor
2011/2012 sponsors
RENTALS SUPPLIER
PREFERRED FLORISTS Quince Flowers Tidy’s Flowers OTHER SUPPLIERS THE BUTLER DID IT Nestlé Waters Torrié Coffee Mill Street
$5,000 to $9,999 Unit Park Holdings Inc. Stikeman Elliot Preferred Caterers to the FSCPA and to the COC at the FSCPA L-EAT catering à la Carte Kitchen Inc. North 44 )° Caters Rose Reisman Catering 10tation Event Catering
DIAMOND PERFORMANCE SPONSORS
$3,000 to $4,999 The Calgary Foundation – Nellie Hicks Memorial Fund $2,000 to $2,999 Classical 96.3 FM Jarvis & Associates MAC Cosmetics Mercedes-Benz Canada Inc. Shinex Window Cleaning Inc. $1,000 to $1,999 Aeroplan Canada McKinsey & Company Milgram Group of Companies Ltd. The Powis Family Foundation
KPMG OPERA GOLF CLASSIC Title sponsor
KPMG LLP PERFORMANCE SPONSORS ARIAS Delvinia Fionn MacCool’s Four Seasons Hotels and Resorts McCarthy Tétrault PriceWaterhouseCoopers LLP
OPERANATION 8: a muse ball presenting sponsor
TD Bank Group dInneR sponsoR
E-L Financial Limited OFFICIAL FRAGRANCE
Calvin Klein forbidden euphoria PARTNERING SPONSOR
OPENING NIGHT SPONSOR
Dundee Real Estate Asset Management (DREAM)
Fionn MacCool’s
Event supporters
HOSTING SPONSOR
PROGRAM SPONSORS Great West Life, London Life and Canada Life, Living Opera Program Sponsor The Globe and Mail, Ticket Back Sponsor KPMG LLP, Xstrata Ensemble Studio School Tour Performance Sponsor
CORPORATE AND FOUNDATION DONORS MAJOR GIFTS $10,000+ Audrey S. Hellyer Charitable Foundation The Hope Charitable Foundation The Hal Jackman Fund at the Ontario Arts Foundation Local 58 Charitable Benefit Fund The McLean Foundation Anonymous (1)
The Balvenie Best PR Boutique CTV HellO! Canada ICON Model Management Inc. Quince Flowers Rose Reisman Catering Storys The Globe and Mail Torrié Espresso Wellington Printworks FINE WINE AUCTION 2012 presenting sponsoRS
TD Securities Bloomberg supporting SPONSOR
Thomson Reuters CHEESE SPONSOR
Cheese Boutique
2011/2012 MEDIA SPONSORS & IN-KIND SUPPORTERS CBC Radio Two Classical 96.3 FM Remenyi House of Music Ltd.
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The Canadian Opera Company is dedicated to being one of the greatest opera companies in the world. Through the leadership of its artistic team and its management, the COC is committed to creating, innovating and delivering a live experience of the highest quality that reflects the passion, vitality, relevance and power of operatic theatre.
As we embarked on our 2011/2012 season, we could reflect on five years of exceptional performances, welcoming thousands of loyal patrons to our home and realizing the dream of presenting breathtaking opera in one of the greatest opera houses of the modern era.
coc.ca