Performance CANADIAN OPERA COMPANY Winter 2014
A MASKED BALL
CONTENTS 4
SIR THOMAS ALLEN: A MUSICAL LIFETIME WITH COSÌ BY GIANMARCO SEGATO
18 TEN THINGS TO KNOW ABOUT VERDI'S A MASKED BALL BY NIKITA GOURSKI
22 THE COC IS THRILLED TO PRESENT OUR 2014/2015 SEASON Discover our six operas on the following pages: Falstaff, pg. 22 Madama Butterfly, pg. 24 Don Giovanni, pg. 26 Die Walküre, pg. 27 The Barber of Seville, pg. 28 Bluebeard’s Castle/Erwartung, pg. 29
Top: A Masked Ball (Berlin Staatsoper, 2008). Photo: Ruth Walz Bottom: Preliminary costume sketch for the COC's new production of Così fan tutte by set and costume designer Debra Hanson
Performance CANADIAN OPERA COMPANY
Winter 2014
n CANADIAN OPERA COMPANY EDITORS: Gianna Wichelow, Senior Manager, Creative and Publications; Claire Morley, Associate Manager, Editorial n RJ PERFORMANCE MEDIA INC.: PRESIDENT AND PUBLISHER: Joe Marino n CEO: Frank Barbosa n SECRETARY TREASURER: Rajee Muthuraman n FINANCE: Gina Zicari n NATIONAL ACCOUNT DIRECTORS: Danny Antunes, Gary Bell, Tom Marino, Paul Radford n ART DIRECTOR /DESIGN: Jan Haringa n Cover images: Così fan tutte: Preliminary costume sketch by set and costume designer Debra Hanson for the COC's new production of Così fan tutte. A Masked Ball: Catherine Naglestad as Amelia in the Berlin Staatsoper production of A Masked Ball, 2008. Photo: Ruth Walz
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A MUSICAL LIFETIME WITH COSÌ
SIR THOMAS ALLEN BY GIANMARCO SEGATO
I
n an age in which superlatives such as “unforgettable,” “legendary” and “greatest” are thrown about indiscriminately, few would argue Sir Thomas Allen’s status as the pre-eminent lyric baritone of his generation. He has earned this title most especially for his iconic interpretations of Mozart’s Don Giovanni, Count Almaviva, Figaro, Papageno, Guglielmo and Don Alfonso, both onstage and in the recording studio. Following his appearances at the Glyndebourne Festival in Sir Peter Hall’s 4
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legendary production, EMI recorded his Don Giovanni in 1984 – now considered the definitive account of Mozart’s notorious womanizer. For close to four decades he has been the baritone of choice for star conductors such as James Levine, Riccardo Muti, Georg Solti, John Eliot Gardiner, Colin Davis and Simon Rattle. Allen has not only mastered the fine balance between singing and acting needed to be a great opera singer, but stands as a master interpreter of the art song, especially in the English
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Celebrating 14 years of service
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Sir Thomas Allen: A Musical Lifetime with Così
Preliminary costume sketches for the character of Don Alfonso for the COC's new production of Così fan tutte, by set and costume designer Debra Hanson
and French repertoire. He now passes on his expertise to the next generation of artists, giving masterclasses worldwide including, since 1996, at his own Samling Academy, located in Allen’s beloved native country in North East England. Sir Thomas Allen’s association with Mozart’s Così fan tutte goes as far back as his student days in the 1960s when he came to the attention of the great British vocal pedagogue, James Lockhart. “One of the things I worked on with him was how to go through a score. He taught me how 6
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to do that and read it as a singer, prepare and pencil it up and do the things that all singers do. And the score chosen was Così, though I didn’t learn the role [Guglielmo] at the time, maybe just one of the arias perhaps. After that he [Lockhart] became music director at Welsh National Opera and one of the first things I did with them was a touring version of Così. That goes back to 1970 or something like that.” Allen’s first Così role, Guglielmo, is often regarded as a rite of passage for the budding lyric baritone. “I think the reason why we as
Sir Thomas Allen: A Musical Lifetime with Così
Preliminary set maquette for the COC's new production of Così fan tutte, designed by Debra Hanson
a breed feel that way is that it doesn’t seem to have the emotional maturity of a role like that of Ferrando [with whom Guglielmo schemes to prove the infidelity of their respective fiancées]. The relationship Guglielmo enjoys with Dorabella is one of pure pleasure rather than the [more emotionally deep] way Ferrando latches onto Fiordiligi. Musically as well, of all the Così roles, Guglielmo is the one that tends most towards the buffo [comic].” The other three young leads sing some of the most sublime, grand and emotional music Mozart ever wrote but Guglielmo’s “vocal opportunities are just not on the same level.” On the other hand, Allen relishes the entirely different demands made of Don Alfonso, Così’s philosopher and cynic, and the role which brings him to the COC this winter. He draws some fascinating parallels between Alfonso and Don Giovanni, the Mozart role with which he has the closest association. “It’s a strange thing about Mozart. If one looks at Don Giovanni musically, he isn’t all that demanding – it’s an endurance test and you have to sing very loudly at the end of the piece. But you’ve not been asked great musical 8
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questions during the course of it in the way Donna Anna has, or had to sing the long-breath lines that Don Ottavio has. And similarly, Don Alfonso doesn’t have those great [vocal] demands made of him. The thing is to use those moments when you’ve seemingly not been asked to do much… when in fact you are actually doing a lot. Then it’s a question of listening to what others are doing, and causing action and reaction in them by just being there; by setting a plan in motion, sowing a seed of doubt or whatever it might be. A lot of it is just sitting down, crossing your legs comfortably, having a cup of coffee whilst you’re watching everything going on. That’s the way it often pans out. I have no qualms about that – I don’t crave great lengthy stentorian arias – I’m very happy to just pull the strings and watch the others dance to my tune!” Having mastered Così’s two low-voiced male roles, Allen has taken the next logical step and can now be found directing Mozart’s effervescent comedy in addition to Don Giovanni, The Marriage of Figaro and The Magic Flute for companies such as Scottish Opera, Arizona Opera and
Sir Thomas Allen: A Musical Lifetime with Così
Boston Lyric Opera. For the latter he not only directed Così but simultaneously played Don Alfonso, an undertaking which required “eyes in the back of your head. It’s not easy, but not impossible either.” In Boston he opted to perform the opera in English, wanting the text to have an immediate impact on the audience. For Allen, communication through music – its actual sounds, pitches and dynamics – are definitely the singer’s responsibility, but even more important is the performer’s ability to personally connect to the text and enliven it for the audience. By using an English translation for his Boston Così, he wished the singers to experience the words first, rather than second-hand. “Using one’s own language is a distinct advantage. I don’t care how seriously and intensely you work with a second or third language – there’s nothing like getting back to one’s own – it’s in your DNA. Also, the colours that become available to a singer for expression are that much more telling. It’s a much more advanced process when you’re learning a role that’s not your native language.” That, says Allen, is “a lifetime study. I’m still doing it.” Just as director Atom Egoyan will re-envision Mozart’s “school for lovers” for our audiences, Allen will also be looking at it afresh. “The main thing is not to come with anything assumed. Listen to what [the director] gives you and then respond to that rather than relying on the process you’ve used for years and years. I keep on saying this to singers – listen to what you’re hearing and respond to that, not to the thing you’ve learned like a parrot from several recordings.”
Having lived with Così for over 40 years, Allen has witnessed a huge sea change in attitude with respect to the piece. There might have been a time when critical opinion denigrated the opera for its perceived immorality and frivolity, but in a post-Freudian world fascinating avenues have opened up to explore the “lessons of love” which lie beneath its undeniably frothy exterior. As Allen reasons, “It’s no longer possible to regard these characters simplistically, as no more than decorative 18th-century porcelain figurines.” This is especially true of the opera’s ambiguous ending – do the original couples “kiss and make up,” returning to their original partners, or are their relationships damaged forever? Allen feels the answer is found in Mozart’s score itself: “You start thinking surely [the two couples] can’t just return to everyday life as a result of the lessons that have been learned. In a way, Mozart indicates this in the finale which is in the very basic key of C major. It’s music that’s so simplistic, almost as though he’s deliberately trying to show us that [the wedding between the two “original” couples] is a façade – they’re clearly going through the motions here – it’s very superficial when you think of all the glorious music that went before.” How will things end up for the lovers in Toronto this winter? Allen and his fellow cast members will no doubt have fun playing with the possibilities when they meet on stage for the COC’s new production of Così. n Gianmarco Segato is Adult Programs Manager, Education and Outreach at the Canadian Opera Company.
FOR FURTHER INSIGHT INTO THE CANADIAN OPERA COMPANY’S NEW PRODUCTION OF MOZART’S COSÌ FAN TUTTE, PLEASE READ AN EXPLORATION OF ENCHANTMENT, IN THE WINTER ISSUE OF PRELUDE, AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.
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MET OPERA VERDI
Falstaff DEC 14 ENCORES JAN 18, 20 FEB 5
LIVE ON SCREEN IN MOVIE THEATRES 2013–14 Season
DVORˇ ÁK
Rusalka FEB 8 ENCORES MAR 29, 31
BORODIN
Prince Igor MAR 1 ENCORES APR 12, 14
MASSENET
Werther MAR 15 ENCORES MAY 24, 26
PUCCINI
La Bohème APR 5 ENCORES JUN 7, 9, 18
MOZART
Così Fan Tutte APR 26 ENCORES JUN 21, 23
DVORˇ ÁK
Rusalka FEB 8 ENCORES MAR 29, 31 Starring Renée Fleming
Visit Cineplex.com/Opera for tickets and participating theatres. ROSSINI
La Cenerentola MAY 10 ENCORES JUL 5, 7, 16
Encore performances are only available at select theatres. Performances may not be available at all participating theatres for all advertised dates. TM/®
Transmission of The Met: Live in HD in Canada is made possible thanks to the generosity of Jacqueline and Paul G. Desmarais Sr.
Cineplex Entertainment LP or used under license.
Preliminary set maquette for the COC's new production of Così fan tutte, designed by Debra Hanson
COSÌ FAN TUTTE OPERA BACKGROUND Unlike The Marriage of Figaro and Don Giovanni, Mozart’s previous collaborations with librettist Lorenzo da Ponte, Così fan tutte was not adapted from an existing literary source (Beamarchais’ play of the same title and the infamous Don Juan legend, respectively), but was newly written. Così also differs from those works, and from the normal pattern we expect in a play or opera, in that it lacks a hero or any one character to grab the audience’s immediate attention as does, for example, the scandalous Don Giovanni. The other stumbling block which plagued Così for the first 100 years of its existence was its negative reception history – audiences were scandalized by its subject matter, unable to handle the notion of two sisters falling in love with each other’s fiancés. Even once Così had finally re-entered the standard repertoire in the 1930s it was treated with little respect, suffering brutal cuts, including Dorabella’s short Act I aria “Smanie implacabili” (“Implacable restlessness”), one of only two arias she gets to sing in the entire opera! Like Don Giovanni which came before it, Così is identified in its libretto as a dramma giocoso, an Italian term for operas that contain both comic and tragic elements. Conventionally thought of as light, frothy and joyful, Così is also shot through with a decidedly poignant, sad and cynical edge. Our responses are always being played with: the two sisters are clearly devastated when their fiancés must go off to war, and the men join in on their sorrow… yet, we know the men are just play-acting. Atom Egoyan’s production takes the deception one step further, allowing the women to not only be aware of the scheme, but having them devise a counter-scheme of their own. Egoyan pays particular attention to the subtitle of the libretto: La scuola degli amanti “The School For Lovers,” a phrase which suggests that the premise of the opera can be understood as an educational experiment. This reading resonates with Così’s historical position in relation to the ideals of Mozart’s time. The Age of Enlightenment was at its peak throughout the latter half of the 1700s, but towards the end of the century, concerns grew about an excessive elevation of reason above religion; both Mozart and da Ponte (following French philosopher Jean-Jacques Rousseau’s views) believed that reason, coupled with moral and spiritual guidance, was a superior way to understand human nature. It is this constant switching between reason and emotion that presents the biggest directing challenge, says Egoyan. The score often vacillates jarringly between light-hearted fun and piercingly sincere quasi-tragedy and, in doing so, illuminates how we are all capable of “straying” when we feel an attraction, and that the human heart can shift unexpectedly.
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Special Event
THE OPERA EXCHANGE Coming Home: Handel’s Hercules
The ancient Greek tragedian Sophocles was also a war general who knew first-hand the devastating psychological traumas that imperilled returning veterans. Celebrated director Peter Sellars’ new COC production of Hercules – Handel’s take on Sophocles’ play – confronts the untold horrors of war and the unspoken complications of reunion. Join us as we explore Hercules and examine music’s role, both historical and contemporary, in the rehabilitation and re-integration of those touched by war. Peter Sellars will be joined by former CBC war correspondent Brian Stewart, musicologists Kip Pegley and Susan McClary, 18th-century literary/drama scholar Brian Corman as well as veterans from World War II and the wars in Korea, Bosnia, and Afghanistan.
Friday, April 4, 2014 I 9:30 a.m. – 4 p.m. Campbell Conference Room Munk School of Global Affairs 1 Devonshire Place Tickets: $20/person; $10 for students with ID
416-363-8231 coc.ca/Explore The Opera Exchange is presented in partnership with:
Part of the Munk School of Global Affairs’ year-long series, 1914-1918: The Making of the Modern World, which explores the effects of World War I through the century. Eric Owens as Hercules (Lyric Opera of Chicago, 2011). Photo: Dan Rest
A S I A N I N S P I R E D. D I S T I N C T LY C A N A D I A N.
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AleXAnder neef, General director
A MASKED BALL by Giuseppe Verdi Opera in Three Acts. libretto by Antonio Somma, based on Augustin eugène Scribe’s libretto for daniel françois Auber’s opera Gustave III, ou Le Bal Masqué first performance: Teatro Apollo, rome, february 17, 1859 Production of Staatsoper Unter den Linden Berlin last performed by the COC in 2003 february 2, 5, 8, 11, 14, 16, 20, 22, 2014 Sung in Italian with english SUrTITleSTM
THE CAST (in order of vocal appearance)
Tom Samuel Oscar Riccardo Renato The Magistrate Ulrica Silvano Servant of Amelia Amelia Conductor Directors Revival Director Set Designer Costume Designer Lighting Designer Chorus Master Stage Manager SURTITLES™ Producer
Giovanni Battista Parodi Evan Boyer Simone Osborne^ Dimitri Pittas Roland Wood John Kriter Elena Manistina Gregory Dahl Owen McCausland†* Adrianne Pieczonka** Stephen Lord Jossi Wieler and Sergio Morabito Samantha Seymour Barbara Ehnes Anja Rabes Olaf Freese Sandra Horst^ Cynthia Toushan Gunta Dreifelds
Performance time is approximately three hours, including two intermissions.
Production Sponsor
**Adrianne Pieczonka’s performance is generously sponsored by Jack Whiteside *Owen McCausland’s performance is generously sponsored by Peter and Hélène Hunt
†Current
member of the COC Ensemble Studio ^ Graduate of the COC Ensemble Studio
Program information is correct at time of printing. All casting is subject to change.
Please visit coc.ca for additional information
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DIRECTORS’ NOTES
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n 1857, 44-year-old Giuseppe Verdi took on a commission from the Naples opera to adapt an opéra historique by Eugène Scribe – at the time already set to music by Auber – about the murder of the Swedish King Gustav III at a masked ball in 1792. However it was in Rome, not Naples, that the finished score finally saw its premiere in 1859. For two years, censorship authorities had sent the opera time-travelling through changing masks and costumes: the action was moved from the 18th-century Stockholm court to 17th-century Stettin, then to medieval Florence and finally to Boston circa 1690. There, the fortunetelling gypsy Arvedson of Swedish history became the African-American Ulrica. It was in this role that Marian Anderson, after protracted disputes, appeared as the first African-American singer at the Met in 1955. Our production also takes place in an America of the 50s or early 60s when segregation was just beginning to be overcome, not least thanks to such a progressive and enlightened ruler as Riccardo, whose sympathy and commitment lie with the disadvantaged of this system. And yet the racial pogroms are far from being “history.” Oppression and persecution still exist, and Riccardo’s violent death will open the way for the reactionary powers and, we have to fear, set his country back many years. Of course the “modern” America of our production is no less an “invention” than the America of Verdi and his librettist – yet the genesis of the opera shows that for Verdi the historical costume as the “outer garment” was not crucial: he was interested in investigating the paradigm of hierarchies and social systems, in whose light any period can reflect its concrete social and historical experiences. As Verdi put it, “To copy the truth can be a good thing, but to invent the 2
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truth is better, much better.” The dilemma of Riccardo, a public figure who must also protect his private life from the stern gaze of a puritanical public, seems to still correspond to the present-day rules of the game of the American media. In our production, we have put a First Lady at his side who knows about her spouse’s escapades, but “plays along” as long as her official position remains unchallenged. It is she who orchestrates Renato's promotion, praising him in a dispatch which ensures that both he and her rival Amelia must leave America. Riccardo also maintains contact with the youth culture scene and has taken a young performance artist into his entourage, who, under the stage name Oscar, stirs up his cabinet with unconventional methods. What is really going on behind the flamboyant mask of this agente provocatrice remains unclear. In the end, she seems driven by a destructive desire for scandal, and even sabotage. We wanted to explore how fragile our identity can be, how quickly apparently secure contexts and relationships – social, professional, family or personal – can break down. A life-long friendship is destroyed, a happy wife and mother falls in love with another man, a marriage breaks down, a child is at the mercy of his parents’ marital dispute, a sympathetic, successful and enlightened politician, who has changed his country for the better, loses his grip on reality and slides into a catastrophe which damages the people that he loves most – including his own wife – and throws his country into crisis. All this happens within a matter of days. This is the story that our Masked Ball tells. Jossi Wieler and Sergio Morabito
SYNOPSIS
ACT I Oscar inspects the ballroom of the Arvedson Palace Hotel.
The party leaders are at breakfast. Most of them are fervent followers of the governor Riccardo, but among them are also some secret opponents led by Samuel and Tom. Riccardo arrives. Oscar hands him the guest list for the planned masked ball. Riccardo is delighted to see Amelia’s name on the list. She is the wife of his best friend and political advisor Renato, and Riccardo has fallen in love with her. Renato appears. He misinterprets Riccardo’s diffidence as a reaction to the rumours of a planned assassination attempt and urges him, in the interest of his people, to intervene against the conspirators. Riccardo manages to not reveal his moral conflict to his friend. The magistrate hands Riccardo a document for signature: an order banishing Ulrica, an African-American woman. Oscar jokingly defends the woman, who has made a name for herself as a fortune-teller. In order to form his own opinion, Riccardo decides to visit Ulrica incognito in the company of his companions. Before a circle of women and children, Ulrica invokes the devil. Silvano, an invalid veteran from Riccardo’s fleet, questions her about when he will finally be compensated for his sacrifice. Ulrica prophesies wealth and imminent promotion. Riccardo, who has been observing the scene, secretly slips him a promotion letter. There is much jubilation at such quick fulfilment of Ulrica's prophecy. Amelia’s chauffeur requests a private audience for his mistress. Ulrica sends everyone away and Riccardo hides. Amelia asks Ulrica to deliver her from her adulterous passion for the governor. The fortune-teller tells her about a secret herb that, if picked below the gallows at Please visit coc.ca for additional information
midnight, will bring release. Amelia wants to seek it out that very evening. Riccardo resolves to follow her. Riccardo’s followers – including the conspirators – arrive. Riccardo has his fortune told. Ulrica prophecies his imminent death at the hand of a friend. When Riccardo pushes for more detail, Ulrica describes the murderer as the next person to shake his hand. Renato, who has followed his friend, greets him with a handshake. Everyone takes this as a sign that the oracle was in error. Only now Riccardo reveals his identity. This is met with enthusiasm; Silvano initiates an anthem in his honour. INTERMISSION ACT II At midnight Amelia looks for the magic herb beneath the gallows. Riccardo, having secretly followed her, surprises her and reveals his love and extracts a confession of her love for him. Unexpectedly, Renato appears to warn Riccardo about Tom and Samuel, who are approaching with their fellow conspirators. He switches coats with the governor so that he can escape unimpeded, and promises to bring Riccardo’s veiled companion back to the city limits without enquiring as to her identity. The conspirators arrive and close in on the supposed governor and his companion. Renato reveals his identity and draws a weapon, in order to protect the identity of the lady entrusted to him. Amelia throws herself between the fighting men and in so doing drops her veil. The conspirators cannot make sense of the proceedings and the couple’s consternation, but take advantage of it in order to play down their own compromised situation. Renato invites Samuel and Tom to his house for the next day. 3
INTERMISSION ACT III Amelia attempts to convince Renato that she has not committed adultery. He wants to kill her. She begs him to let her embrace her son one last time before her death. At this, Renato decides to kill his friend rather than his wife. Samuel and Tom arrive. Renato asks to be taken into the circle of the conspirators and hands over his son as a hostage, whose life should guarantee the sincerity of his intentions. They draw lots to decide who gets to kill the governor. Amelia is forced to draw the fateful lot. Renato is chosen. Oscar delivers the invitation to the masked ball. Renato decides to kill the governor at the ball. Amelia sees through his intentions and desperately thinks about how she can warn Riccardo without implicating her husband. Riccardo, torn between friendship and love, finally decides never to see Amelia again and signs a decree dispatching
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Renato and Amelia to England. When Oscar delivers a letter from an “unknown lady” (the masked Amelia) warning Riccardo of an assassination attempt at the ball, he believes he will be accused of cowardice if he stays away. Full of anticipation at the final reunion with Amelia, he rushes recklessly to the ball. The ball is in full swing. Oscar confirms to the doubting Renato that the governor actually is present at the ball. He also manages to find out from Oscar what Riccardo’s disguise is. Amelia discovers her beloved and begs him to leave the party, insisting that he is putting his life in danger by ignoring her warning. Riccardo can’t tear himself away from her, knowing that the next day she will leave America with Renato. When they embrace one last time, Renato shoots the governor. The dying Riccardo swears Amelia’s innocence and shows Renato the signed decree with his transfer to England. As his last official act, he pardons his murderer.
MUSIC STAFF
Rachel Andrist Ben Malensek (Head Coach) ITALIAN LANGUAGE COACH
Manuela Scarci ASSISTANT CONDUCTOR
Jordan de Souza ASSISTANT DIRECTOR
Graham Cozzubbo ASSISTANT STAGE MANAGERS
Tiffany Fraser Liliane Stilwell ASSISTANT LIGHTING DESIGNERS
Wendy Greenwood Jareth Li Andrea Nelson (Wally Russell Lighting Intern) DANCERS
Andrea Ciacci Dani Jazzar FIRST LADY
Adrienne Kress UNDERSTUDIES
Oscar Renato The Magistrate Silvano Amelia’s servant Amelia
Please visit coc.ca for additional information
Sasha Djihanian Gregory Dahl Andrew Haji Cameron McPhail Andrew Haji Keri Alkema
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ARTISTS’ BIOGRAPHIES EVAN BOYER Samuel
American bass Evan Boyer’s recent COC credits include Second Commissioner in Dialogues des Carmélites and First Soldier in Salome. He recently completed his tenure at the Lyric Opera of Chicago’s Ryan Opera Center. Recent credits include numerous appearances at Lyric Opera of Chicago as Pietro in Simon Boccanegra, Count Ceprano in Rigoletto, Lodovico in Otello, Luther in Les contes d’Hoffmann, Sarastro in Die Zauberflöte, and the King in Aida. He has also sung Colline in La Bohème (Dominican Republic’s National Symphonic Orchestra); Sarastro (LA Opera and Garsington Opera); First Soldier/Nazarene in Salome (Cleveland Orchestra at Carnegie Hall); and Créon in Médée and Oreste in Giasone (Chicago Opera Theater). GREGORY DAHL Silvano
Canadian baritone Gregory Dahl last appeared with the COC as Crespel/Schlémil in The Tales of Hoffmann. COC roles include Balaga/General Yermolov/First German General in War and Peace and Ping in Turandot. Other credits include Conte di Luna in Il Trovatore and Ford in Falstaff (L’Opéra de Montréal); Jochanaan in Salome (Opera Theatre of St. Louis and Manitoba Opera); Amonasro in Aida (Manitoba Opera); Iago in Otello (Calgary Opera); Macbeth (Pacific Opera Victoria); Alfio in Cavalleria rusticana and Tonio in Pagliacci (Edmonton Opera); Enrico in Lucia di Lammermoor (Vancouver Opera); and Goloud in Pelléas et Mélisande (Opera Theatre of St Louis). 6
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Upcoming engagements include Mandryka in Arabella (cover at Metropolitan Opera); Macbeth with Opéra de Québec and Goloud in Pelléas et Mélisande with Against the Grain Theatre. JOHN KRITER The Magistrate
Canadian tenor John Kriter most recently appeared as Spoletta in the COC’s Tosca. Other COC roles include Borsa (Rigoletto), the Hotel Porter (Death in Venice), Goro (Madama Butterfly), Normanno (Lucia di Lammermoor), Emperor Altoum (Turandot), Bardolfo (Falstaff), Reverend Horace Adams (Peter Grimes), Red Whiskers (Billy Budd), Nick (La fanciulla del West), the Ringmaster (The Bartered Bride), Tanzmeister (Ariadne auf Naxos), Gherardo (Gianni Schicchi), and Don Basilio and Don Curzio (The Marriage of Figaro). Mr. Kriter recently performed the Second Jew in Salome with Edmonton Opera, where he returns this spring as Goro. Other appearances include Mr. Snarlygob in The Midnight Court (Queen of Puddings Music Theatre, Toronto and Linbury Theatre, Covent Garden). ELENA MANISTINA Ulrica
Russian mezzo-soprano Elena Manistina recently appeared as Azucena in the COC’s Il Trovatore. She trained at the Music School of Saratov and the Moscow State Tchaikovsky Conservatory. Ms Manistina made her debut as Marfa in Khovanshchina in Saratov and sang the role of Ulrica and the Countess in Pique Dame at Washington Opera. As well as her ongoing regular appearances at the Bolshoi Theatre in
ArTISTS’ bIOGrAPhIeS
Moscow, future appearances include Alexander Nevsky (Tanglewood Festival); Ulrica (Théâtre du Capitole Toulouse); Ježibaba in Rusalka (Teatro Municipal de Santiago); and the Fortune Teller in The Fiery Angel (Bayerische Staatsoper). Ms Manistina was the first prize winner of Plácido Domingo’s Operalia Competition in 2002. OWEN McCAUSLAND Servant of Amelia
New Brunswick native and COC Ensemble Studio tenor Owen McCausland recently appeared at the COC as Parpignol in La Bohème and Reverend Horace Adams in Peter Grimes. Other COC credits include the Second Nazarene in Salome and the Messenger in Il Trovatore, as well as stepping into the title role in La clemenza di Tito on the mainstage as well as the Ensemble performance. Credits include Rinuccio in Gianni Schicchi (Opera on the Avalon) and Don Ottavio in Don Giovanni (Centre for Opera Studies in Italy). This season with the COC Mr. McCausland also appears as Ferrando in Così fan tutte (Ensemble), Cecil in Roberto Devereux and Juan in Don Quichotte. SIMONE OSBORNE Oscar
Ensemble Studio graduate soprano Simone Osborne last appeared with the COC as Musetta in La Bohème. Previous COC roles include Lauretta in Gianni Schicchi, Gilda in Rigoletto, Pamina in The Magic Flute, and Naiad in Ariadne auf Naxos. Recent performances include her debut with the Los Angeles Philharmonic under Gustavo Dudamel; Seiji Ozawa’s Saito Please visit coc.ca for additional information
Kinen Festival; and Carnegie Hall with pianist Warren Jones; Juliette in Roméo et Juliette and Pamina (Vancouver Opera); and Mozart’s Requiem (Toronto Symphony Orchestra). Ms Osborne is a grand prize winner of the Metropolitan Opera National Council Auditions and winner of the Marilyn Horne Foundation Competition. Upcoming appearances include Beethoven’s Symphony No. 9 and Strauss songs with the Vancouver Symphony, and recitals across Canada with pianist Anne Larlee. GIOVANNI BATTISTA PARODI Tom
Italian bass Giovanni Battista Parodi is making his COC debut. A graduate of the La Scala Academy program, his recent roles include Moser in Verdi’s I masnadieri (Parma Opera); Ferrando in Il Trovatore (Tyrolean Festival Erl); Fiesco in Simon Boccanegra (Teatro Regio di Torino and Teatro Verdi Trieste); Raimondo in Lucia di Lammermoor (Teatro Comunale Alighieri, Opera-Certosa di Pavia, Teatro Comunale Ponchielli, among others); Giove in La Calisto (Theater an der Wien); Plutone in L’Orfeo; and Colline in La Bohème (Teatro San Carlo, Opera di Roma and Opéra de Paris). Other roles include Capellio in I Capuleti e i Montecchi (Opéra de Paris and Opéra de Lyon); and Conte Rodolfo in La sonnambula (Wiener Staatsoper). ADRIANNE PIECZONKA Amelia
Canadian soprano Adrianne Pieczonka recently appeared at the COC as Madame Lidoine in Dialogues des Carmélites. Other COC 7
ArTISTS’ bIOGrAPhIeS
roles include the title character in Tosca, Prima Donna/Ariadne in Ariadne auf Naxos, Leonore in Fidelio, Elisabeth in Don Carlos, and Sieglinde in Die Walküre. She appears regularly at the Met, Vienna Staatsoper, La Scala and with the Paris, Berlin, Munich, Frankfurt and Los Angeles operas, as well as at the Salzburg and Bayreuth festivals. Recent engagements include Chrysothemis in Elektra (Aix-en-Provence and Royal Opera House, Covent Garden) and The Empress in Die Frau ohne Schatten (Bayerische Staatsoper). Ms Pieczonka is an Officer of the Order of Canada, a recipient of the Queen’s Jubilee Medal and was named Kammersängerin by the Austrian government. She recently received the Norman Walford and Paul de Hueck Career Achievement Award. DIMITRI PITTAS Riccardo
American tenor Dimitri Pittas recently appeared with the COC as Rodolfo in La Bohème and the Duke in Rigoletto. His recent appearances include Oronte in I Lombardi alla Prima Crociata (Staatsoper Hamburg); Rodolfo (Metropolitan Opera/Met, Houston Grand Opera/HGO, Lyric Opera of Chicago, Oper Frankfurt); Tebaldo in I Capuleti e i Montecchi (Bayerische Staatsoper); Macduff in Macbeth (Met; Royal Opera House, Covent Garden; Wiener Staatsoper); the title role in Don Carlo (Théâtre du Capitole Toulouse); Edgardo in Lucia di Lammermoor (HGO); and Alfredo in La Traviata (Wiener Staatsoper, Seattle Opera and Deutsche Oper). This season he will also sing Nemorino in L’elisir d’amore (Deutsche Oper). Mr. Pittas is a graduate of the Met's Lindemann Young Artist Development Program.
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Canadian Opera Company 2013/2014 Season
ROLAND WOOD Renato
English baritone Roland Wood is making his COC debut. He is a graduate of the Royal Northern College of Music and the National Opera Studio. Recent appearances include Papageno in The Magic Flute, Don Fernando in Fidelio, and Pilgrim/John Bunyan in The Pilgrim’s Progress (English National Opera/ENO); Germont in La Traviata (Santa Fe Opera); Albert in Werther (Scottish Opera); and Enrico in Lucia di Lammermoor (Nationale Reisopera Enschede). Other roles include Conte Almaviva in Le nozze di Figaro and Paolo Albiani in Simon Boccanegra (ENO). Future roles include his debut at Royal Opera House, Covent Garden as Roucher in Andrea Chenier; and Oedipus in the world premiere of Julian Anderson’s Thebans (ENO).
STEPHEN LORD Conductor
American Stephen Lord last appeared at the COC conducting Lucia di Lammermoor. He also conducted the COC’s Norma. He is currently music director for Opera Theatre of Saint Louis, conducting repertoire from Mozart to Salome to Sweeney Todd. Recent appearances include Don Pasquale (Lyric Opera of Chicago/LOC and The Juilliard School); La Donna del lago and Les contes d’Hoffmann (Santa Fe Opera); and Rigoletto and La Traviata (Seoul Arts Center). Other credits include La Rondine (New York City Opera); Rigoletto, Tosca, La Bohème (English National Opera); Rigoletto (San Francisco Opera); Tosca (LOC); and Macbeth (Opéra de Montréal).
ArTISTS’ bIOGrAPhIeS
JOSSI WIELER Director
Swiss director Jossi Wieler is making his COC debut. A recipient of the Konrad Wolf Award and the German Critics’ Award, he was named “Stage Director of the Year” in 1994 for his production of Elfriede Jelinek’s Wolken.Heim (Deutsches Schauspielhaus Hamburg). Mr. Wieler has worked with Sergio Morabito on numerous productions, including La clemenza di Tito, Siegfried, Don Carlo, Una cosa rara, Norma, Alceste (Stuttgart Opera), Macbeth (Basel) and Pelléas and Mélisande (Hannover Staatsoper). In 2002 and 2012 Wieler and Morabito were named “Directorial Team of the Year" by an international panel of 50 critics contributing to the magazine Opernwelt. At the Netherlands Opera they produced Lucio Silla in 2004 and the three Mozart/Da Ponte operas in 2006. Their 2013/2014 season includes Tristan und Isolde at the Stuttgart Opera, where Mr. Wieler became artistic director in 2011. SERGIO MORABITO Director
German-Italian director Sergio Morabito is making his COC debut. A member of the German Academy of Performing Arts, he has worked with Jossi Wieler on numerous productions, including Alcina, L’incoronazione di Poppea, Moses und Aron, Kát’a Kabanová, L’Écume des jours (Stuttgart Opera) and La Juive (Stuttgart and Dresden). Wieler and Morabito were named twice “Directorial Team of the Year” by an international panel of 50 critics contributing to the magazine Opernwelt, in 2002 for their production of Ariadne auf Naxos at the Salzburg Festival, and in 2012 for La Sonnambula in Stuttgart. They received the Deutsche Theaterpreis DER Please visit coc.ca for additional information
FAUST in 2006 for Busoni’s Doktor Faust (San Francisco Opera and Stuttgart) and in 2012 for the double bill Die glückliche Hand-Osud. Their 2013/2014 season includes the world premiere of composer Mark Andre’s wunderzaichen. SAMANTHA SEYMOUR Revival Director
English director Samantha Seymour is making her COC debut. After studying electronic and electrical engineering and working in avionics and software project management, she began her career in opera after observing a production of Humperdinck’s Die Königskinder (Bayerische Staatsoper). She studied dramaturgy and theatre studies, specializing in opera, in Munich and has worked with directors including Andreas Homoki, Peter Konwitschny and Martin Kušej. Her projects with Jossi Wieler and Sergio Morabito include Norma (Stuttgart), Rusalka (Salzburg Festival) and currently Tristan und Isolde (Stuttgart). She directed the revival of Rusalka for the Royal Opera House, Covent Garden and the Grand Théâtre de Genève. In 2012 she was awarded a scholarship for the interdisciplinary program at the Mannheim Mozart Summer. BARBARA EHNES Set Designer
German set designer Barbara Ehnes is making her COC debut. She studied with Wilfried Minks and Marina Abramović at the College of Fine Arts in Hamburg. During her assistantship to Raimund Bauer and Wilfried Minks from 1995 to 1998, she created her first original stage designs. Today Ehnes regularly collaborates with directors including Stefan Pucher, Stefan Bachmann, Sebastian 9
ArTISTS’ bIOGrAPhIeS
Baumgarten and choreographer Meg Stuart, and works at the Deutsches Schauspielhaus in Hamburg, Munich Kammerspiele, Zurich Schauspielhaus, Berlin Volksbühne, Theater Basel, Burgtheater Wien and the Muziektheater Amsterdam. In 2005 she received an Opus Award in the stage design category, and, in 2012, the German theatre award, DER FAUST, together with video artist Chris Kondek. She teaches at the Art Academy in Dresden. ANJA RABES Costume Designer
German costume designer Anja Rabes is making her COC debut. After working in the costume department at the Bayerische Staatsoper, she studied theatre studies and worked as assistant to Anna Viebrock, Axel Manthey and John Grützke at the Deutsches Schauspielhaus in Hamburg, and at the Burgtheater in Vienna. Her first original designs were for dance productions by Verena Weiss and Carolyn Carlson. She regularly collaborates with directors including Jossi Wieler, Stephan Kimmig and Anselm Weber. With Jossi Wieler and Sergio Morabito she designed costumes for the Mozart/Da Ponte cycle (Netherlands Opera), Rusalka (Salzburg Festival), and Don Carlo (Stuttgart Opera). At the Bayerische Staatsoper Opera she designed for Don Giovanni. Anja Rabes currently teaches at the School of Theatre and Music in Hamburg and is also a set designer. OLAF FREESE Lighting Designer
German lighting designer Olaf Freese is making his COC debut. He has worked as a lighting designer since completing his training at the Berliner Ensemble and 10
Canadian Opera Company 2013/2014 Season
the Hamburger Schauspielhaus in 1992. He has worked at Schauspiel Hannover, Deutsches Theater Berlin and, since 2007, at the Staatsoper unter den Linden in Berlin. Other theatre and opera work includes the Burgtheater in Vienna as well as the Wiener Staatsoper, and the opera companies of Stuttgart, Hamburg, Hannover, Essen, Netherlands Opera, the Salzburg Festival, and Royal Opera House, Covent Garden. He has worked with directors including Jossi Wieler and Sergio Morabito (Rusalka, A Masked Ball); Achim Freyer (Eugene Onegin); and Stefan Herheim (Lohengrin, Die Meistersinger von Nürnberg, Der Rosenkavalier, Eugene Onegin), among others. SANDRA HORST Chorus Master
Sandra Horst’s most recent COC credits include La Bohème and Peter Grimes. Also at the COC she conducted Rossini’s Il viaggio a Reims. As director of musical studies at the University of Toronto’s Opera Division, she recently conducted Donizetti’s L’elisir d'amore. Ms Horst has served as chorus master for Opera Theatre of St. Louis and Edmonton Opera; a judge for the Metropolitan Opera National Council auditions; and music staff of the Juilliard Opera Center, Chautauqua Institution, Boston Lyric Opera, and Banff Centre for the Arts. She was one of the 100 Alumni of Achievement honoured by Wilfrid Laurier University. This season Ms Horst is also chorus master for Così fan tutte, Roberto Devereux, Hercules and Don Quichotte.
ArTISTS’ bIOGrAPhIeS
JORDAN DE SOUZA Assistant Conductor
Recently at the COC Canadian Jordan de Souza was the assistant conductor for La Bohème and Dialogues des Carmélites. Based in Montreal, he is the artistic director and principal conductor of the Ottawa Choral Society, conductor at the Church of St. Andrew and St. Paul, and, from 2011 to 2013, was a course lecturer at McGill University. Conducting highlights include Carmen (Saskatoon Opera), Béatrice et Bénédict (Opera NUOVA), Bach’s St. John Passion, St. Matthew Passion, Christmas Oratorio, and Mass in B Minor, Berg’s Violin Concerto, and Orff’s Carmina Burana. At the age of 19, Mr. de Souza earned his Fellowship degree from the Royal Canadian College of Organists. He is broadcast regularly on the CBC and throughout the European Broadcasting Union. GRAHAM COZZUBBO Assistant Director
Originally from Calgary, Graham Cozzubbo was last at the COC as assistant director for La Bohème and Die Fledermaus. For the COC, he has directed several Glencore Ensemble Studio School Tour productions including Isis and the Seven Scorpions, The Brothers Grimm and Cinderella. In Calgary he co-founded New Century Stage and served as the assistant artistic director of the Banff Centre’s Twentieth Century Opera Program for four years. His work encompasses theatre, opera and contemporary music theatre. As an educator, Mr. Cozzubbo has taught for the Banff Centre, Baltimore’s Peabody University, Wilfrid Laurier University, and the Faculty of Music at the University of Toronto. Please visit coc.ca for additional information
CYNTHIA TOUSHAN Stage Manager
Cynthia Toushan has been a member of the COC for over 25 years as a stage manager and choreographer. Past COC productions include Tristan und Isolde, Love from Afar, Nixon in China, From the House of the Dead, Faust, Turandot and Hänsel und Gretel. Ms Toushan was the production stage manager and resident director for Jersey Boys Toronto (2008 – 2010). She has worked for 17 seasons with the Stratford Festival, stage managing numerous productions including 42nd Street, Kiss Me Kate, West Side Story, Fiddler on the Roof and Camelot and takes on the role of Production Stage Manager there in 2014. In addition, she was the senior stage manager for Pope John Paul II’s visit to Toronto in 2002.
FOOD AND BEVERAGE SERVICE
We are pleased to offer, for the convenience of all of our patrons, a pre-order system for intermission purchases. Our pre-order system is designed to decrease your wait time at the bar during intermission and we invite you to make use of it at every COC performance. Bars are located throughout the Isadore and Rosalie Sharp City Room’s many levels. Food and beverages are not permitted in R. Fraser Elliott Hall.
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CANADIAN OPERA COMPANY ORCHESTRA VIOLIN I Marie bérard, Concertmaster The Concertmaster’s chair has been endowed in perpetuity by Joey and Toby Tanenbaum benjamin bowman, Associate Concertmaster, on leave of absence diane Tait, Assistant Concertmaster Sandra baron, Acting Assistant Concertmaster Anne Armstrong bethany bergman elizabeth Johnston hiroko Kagawa* nancy Kershaw dominique laplante Yakov lerner Jayne Maddison neria Mayer VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal Aya Miyagawa James Aylesworth Pamela hinman* elizabeth Johnston renée london* Alexei Pankratov* Marianne Urke Joanna Zabrowarna VIOLA Keith hamm, Principal Joshua Greenlaw, Assistant Principal, on leave of absence Carolyn blackwell, Acting Assistant Principal* Valerie Kuinka* rhyll Peel Shannon Knights* Angela rudden* beverley Spotton Yosef Tamir CELLO bryan epperson, Principal, on leave of absence Alastair eng, Associate Principal Paul Widner, Assistant Principal Maurizio baccante, Acting Assistant Principal Peter Cosbey* Olga laktionova elspeth Poole* elaine Thompson
BASS Alan Molitz, Principal robert Speer, Assistant Principal Tom hazlitt Paul langley robert Wolanski* FLUTE douglas Stewart, Principal Shelley brown PICCOLO Shelley brown
HARP Sarah davidson, Principal BANDA VIOLIN I Aaron Schwebel* lyn Kuo* Christine Chesebrough* VIOLIN II Corey Gemmell* Sonia Vizante*
OBOE Mark rogers, Principal lesley Young
VIOLA Ivan Ivanovich*
ENGLISH HORN lesley Young
CELLO Marianne Pack*
CLARINET James T. Shields, Principal Colleen Cook
BASS daniel lalonde*
BASSOON eric hall, Principal elizabeth Gowen HORN Joan Watson, Principal, on leave of absence Scott Wevers, Acting Principal* Janet Anderson bardhyl Gjevori Gary Pattison TRUMPET robert Grim, Principal robert Weymouth TROMBONE Charles benaroya, Principal Ian Cowie BASS TROMBONE herbert Poole CIMBASSO Scott Irvine, Principal TIMPANI Michael Perry, Principal
E-FLAT CLARINET Max Christie* TRUMPETS Andre dubelsten* luise heyerhoff* Michael fedyshyn* TROMBONES david Pell* Megan hodge* BELLS Trevor Tureski LIBRARIAN Wayne Vogan ASSISTANT MUSIC LIBRARIAN Ondrej Golias STAGE LIBRARIAN Paul langley PERSONNEL MANAGER Ian Cowie * extra musician
PERCUSSION Trevor Tureski, Principal
COC ORCHESTRA ACADEMY The COC welcomes students selected by audition from The Glenn Gould School at The royal Conservatory of Music and the faculty of Music at the University of Toronto who will participate in a mentorship program with musicians of the COC Orchestra. COC Orchestra Academy Musicians Ashton lim, cello rebecca Macleod, violin Alessandro rauli, oboe
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Canadian Opera Company 2013/2014 Season
CANADIAN OPERA COMPANY CHORUS SOPRANOS lindsay barrett Andrea Cerswell Margaret evans eliza Johnson Alexandra lennoxPomeroy Ingrid Martin eve rachel Mcleod Katie Murphy Jennifer robinson Catherine Tait Teresa van der hoeven Carrie Wiebe
MEZZO-SOPRANOS Kristina Alexander Marianne bindig Susan black Sandra boyes Wendy hatala foley erica Iris huang Jennifer Kee lilian Kilianski laura McAlpine Anne McWatt Karen Olinyk Cindy Won
TENORS Vanya Abrahams Craig Ashton Stephen bell Taras Chmil Sam Chung Sean Clark nicolas Groenewegen ryan harper James leatch Stephen McClare eric Olsen Conrad Siebert Taylor White
BARITONES & BASSES Grant Allert Jeremy bowes Matthew Cassils Sung Chung bruno Cormier Jeremy ludwig Constantine Meglis Michael nyby Keith O'brien niculae raiciu Michael Sproule Jan Vaculik Gene Wu
Don’t sit in the dark! Join the conversation online. When the curtain goes down and the audience heads home, the real conversations start. Discover behind-the-scenes content from your favourite operas on our blog Parlando, immerse yourself in podcasts and exclusive Inside Opera videos on COC Radio, and connect with COC artists through social media.
FREE WIRELESS Connect via the “COC_Public” network and log in with your Facebook account to enjoy FREE wireless access in the lobby.
@canadianopera @alexanderncoc
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PARLANDO coc.ca/Parlando COC RADIO coc.ca/COCRadio
Please visit coc.ca for additional information
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Opera at its finest CIBC is proud to sponsor the Canadian Opera Company’s production of Giuseppe Verdi’s A Masked Ball
BOARD OF DIRECTORS OFFICERS Mr. Tony Arrell, President Mr. Philip C. deck, Chair Mr. Paul A. bernards, Treasurer Mr. John h. Macfarlane, Secretary Mr. Alexander neef, General Director (ex officio) Mr. robert lamb, Managing Director (ex officio)
MEMBERS Mr. Mark Appel Ms nora Aufreiter Mr. robert brouwer Ms Marcia lewis brown Mr. Stewart burton Mr. Peter M. deeb Mr. George S. dembroski Mr. William fearn (ex officio) Mr. Adam froman Mr. Michael Gibbens Mr. Peter hinman dr. linda hutcheon Ms Trinity Jackman Mr. Justin linden Mr. Jeff lloyd
Ms Anne Maggisano Mr. Stephen O. Marshall Ms Judy Matthews Ms Trina McQueen Mr. Jonathan Morgan Mr. nick Mutton Ms frances Price Mr. Arthur r.A. Scace, C.M. Ms Colleen Sexsmith Mr. Philip S.W. Smith Mr. Paul b. Spafford Ms Michele Symons Ms Kristine (Kris) Vikmanis Mr. John h. (Jack) Whiteside HONORARY DIRECTOR Mr. Joey Tanenbaum, C.M.
VOLUNTEER SUPPORT ORGANIZATIONS COC OPERA GUILDS brantford Opera Guild, David M. Cullen, President Kingston Opera Guild Grace Orzech, President london Opera Guild Ernest H. Redekop, President Muskoka Opera Guild Dr. Hans Heeneman, President northumberland Opera Guild Thais Donald, President Oakville Opera Guild Maureen Rudzik, President Sudbury Opera Guild Mike Humphris, President Western new York Opera Guild Dorothy K. Piepke, President
CANADIAN OPERA FOUNDATION DIRECTORS Mr. William fearn, Chair Mr. Ken Jesudian, Vice Chair Mr. Tony Arrell Mr. Jonathan bloomberg Mr. J. rob Collins Mr. david forster, Treasurer Mr. Gary Gard Mr. Michael Gough Mr. Christopher hoffman Mr. david Spiro, Secretary HONORARY DIRECTORS Mr. George hamilton hon. dennis lane
For more information on COC Guilds please visit coc.ca/Guilds
Please visit coc.ca for additional information
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ADMINISTRATION AND STAFF AleXAnder neef, General director Robert Lamb Managing Director
Ondrej Golias Assistant Librarian
Johannes Debus Music Director
COC Ensemble Studio Gordon Bintner Charlotte Burrage Sasha Djihanian Aviva Fortunata Clarence Frazer Andrew Haji Danielle MacMillan Owen McCausland Cameron McPhail Claire de Sévigné Michael Shannon
EXECUTIVE OFFICE Executive Assistant to the General Director Sky Fairchild-Waller Marguerite Schabas (on leave) ARTISTIC ADMINISTRATION
Core Crew Scott Clarke Terry Hurley Paul Otis Chuck Theil Amy Cummings Scene Shop Co-ordinator David Retzleff Head Scene Shop Carpenter Andrew Walker Assistant Scene Shop Carpenter
Roberto Mauro Artistic Administrator
Production Assistants Adriana Dimitri Michelle Galuszka
Richard Gordon Head Scenic Artist
Olwyn Lewis Company Manager
PROGRAMMING
Carolina Valenzuela Assistant Head Scenic Artist
Nina Dragani´ ´c Director of Programming – Free Concert Series
Daniela Mazic Scenic Artist
Karen Olinyk Assistant, Artistic Administration & Music
PRODUCTION MUSIC Sandra Gavinchuk Music Administrator Sandra Horst Chorus Master Wayne Vogan Music Librarian, Coach Elizabeth Upchurch Head of the Ensemble Studio & Coach Derek Bate Resident Conductor Music Staff Rachel Andrist Timothy Cheung Jean Desmarais Jenna Douglas Esther Gonthier Stephen Hargreaves Anne Larlee Ben Malensek Kevin Murphy Steven Philcox Eric Weimer Gerry Egan Interim Scheduling Manager Hannah Gordon Assistant Scheduling Manager
Peter W. Lamb Director of Production
Scott Williamson Rehearsal Head Technician
Sharon Ryman Wig & Make-up Supervisor Cori Ferguson Head of Wig & Make-up Crew Shawna Green Production Co-ordinator Gunta Dreifelds SURTITLES™ Producer Zane Kaneps SURTITLES™ Editor John Sharpe SURTITLES™ Assistant Supernumeraries Co-ordinators Analee Stein Elizabeth Walker DEVELOPMENT
Guy Nokes Properties Supervisor
Christie Darville Chief Advancement Officer
Chuck Giles Technical Director
Stephanie Tjelios Resident Properties Builder/Co-ordinator
Kaila LeMaitre Development Associate
Barney Bayliss Associate Technical Director
Kathy Frost Resident Properties Buyer/Co-ordinator
Amy Mushinski Manager, Government Relations
Wendy Greenwood Lighting Co-ordinator
Tracy Taylor Properties Builder/ Co-ordinator
Stephen Gilles Director of Development
Assistant Technical Directors Melynda Jurgenson Wendy Ryder
Properties Builders Carolyn Choo Wulf
Peter Hussell Senior Manager, Advancement Operations
Janice Fraser Head Electrician
Sandra Corazza Costume Supervisor
Ali Kashani Associate Director, Institutional Gifts
Joel Thoman Assistant Electrician
Chloe Anderson Costume Co-ordinator
Bob Shindle Head of Sound
Costume Assistants Natassia Brunato Christina Del Monte
Lee Milliken Production Manager
Craig Kadoke Assistant Sound Paul Watkinson Head Carpenter Mike Gelfand Assistant Carpenter
Sue Furlong Resident Tailor Assisted by Sharon Gashgarian Karen Hancock
Birthe Joergensen Archivist – Joan Baillie Archives
Rupert Baker Head Flyman
Additional Costumes By Arana Enterprises Industry Costumes
Ian Cowie Orchestra Personnel Manager
Alison Potter Head of Properties
Nancy Hawkins Head of Wardrobe
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Leslie Brown Wardrobe Assistant
Canadian Opera Company 2013/2014 Season
Dawn Marie Schlegel Associate Director, Donor Relations Sarah Heim Donor Relations Officer Natalie Sandassie Senior Development Officer, Annual Programs and Patron Engagement Paige Phillips Co-ordinator, Annual Programs and Patron Engagement Emma Noakes Co-ordinator, Annual Programs and Patron Engagement
Aisha Talarico Senior Development Officer, Friends of the COC
Eldon Earle Marketing Co-ordinator
FINANCE AND ADMINISTRATION
Michelle Hwu Retail Co-ordinator
Lindy Cowan, CPA, CA Director of Finance and Administration
Kevin Sean Pook Co-ordinator, Friends of the COC
Kristin McKinnon Assistant Publicist
Francesco Corsaro Senior Development Officer, Institutional Gifts
EDUCATION AND OUTREACH Katherine Semcesen Associate Director, Education and Outreach
Adriana Formusa Development Officer, Institutional Gifts
Lorraine O’Connor, CHRP Human Resources Manager Amalie Davis, CPA, CA Finance Manager
Gianmarco Segato Adult Programs Manager
General Accountants Florence Huang Zoran Orli´ ´c (FSCPA)
Nikita Gourski Development Communications Officer
Vanessa Smith Manager, School Programs
Payroll Accountants Jovana Bojovic Jeanny Won
Tracy Briggs Senior Manager, Special Events
Amber Yared Children and Youth Programs Co-ordinator
Steven Sherwood Manager, IT Services
Laura Aylan-Parker Senior Development Officer, Special Events and Ensemble Circle
TICKET SERVICES Alan Moffat Patron Relationship Manager
Victor Widjaja Donation Database Officer
Andrea Salin Associate Manager, Ticket Services
Olena Moldovan Donation Database Officer
Nikki Tremblay Assistant Ticket Services Manager
COMMUNICATIONS
Brad Staples Database Reporting Specialist
Building Operators Dan Bisca Dan Popescu Adrian Tudoran Paula Da Costa Eurest Services Supervisor Eurest Services Team Jennifer Barros Malaku Godana Nash Lim Jimmy Pacheco Sugey Torres FOUR SEASONS CENTRE FOR THE PERFORMING ARTS Alfred Caron Director, Four Seasons Centre for the Performing Arts Elizabeth Jones Associate Director, Business Development
Tony Sandy IT Services Assistant
Shannon Churm Business & Events Co-ordinator
Katarina Božovi´´c Receptionist/ Switchboard
Jefferson Guzman Associate Director, Patron Services
Branka Hrsum Mailroom Clerk/ Courier
Kim Hutchinson-Barber Assistant Manager, Front of House
David Nimmo Group Sales Co-ordinator
BUILDING SERVICES
Lillian Fung Ticket Services Supervisor
Joe Waldherr Associate Director, Facilities Management
Julia Somerville Assistant Manager, Front of House
Jennifer Toulmin Facilities Management Assistant
Jennifer Pugsley Media Relations Manager
Ticket Services Representatives James Baldwin Ellen Casey Ernest Cayemen Holly Coish Anna Kay Eldridge Peter Genoway Maureen Gualtieri Keith Lam Kevin Morris Darcy Stoop Mitch Yolevsky
Claire Morley Associate Manager, Editorial
CALL CENTRE Richard Paradiso Call Centre Manager
Meighan Szigeti Associate Manager, Digital Marketing
Call Centre Representatives Catherine Belyea Wendy Limbertie DeeAnn Sagar Margaret Terry Angela Thompson Alexandra Varela
Claudine Domingue Director of Public Relations Jeremy Elbourne Director of Marketing Phil Stephens Senior Manager, Sales and Customer Service Gianna Wichelow Senior Manager, Creative and Publications
Danielle D’Ornellas Digital Marketing Co-ordinator
Maintenance Assistants Ryszard Gad (COC) Branislav Peterman (COC) Julian Peters (COC) James Esposito (FSCPA) Mark Healy (FSCPA) Dinh Tran (FSCPA) Piotr Wiench (FSCPA)
Brigitte Lang Assistant Manager, Food & Beverage Patron Services Supervisors Kelly Bailey Stuart Constable Enrique Covarrubias Cortes Jamieson Eakin Melissa McDonnell Adam Orr Patron Services Leads Carianne Hathaway
Security Supervisors Videsh Dookhu Dave Samuels Security Officers George Balyasin Tammy Hill Natalia Juzyc Usman Khalid Kathleen Minor Heather Reid Craig Thompson
FSCPA – Four Seasons Centre for the Performing Arts
Please visit coc.ca for additional information
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S U P P O RT I N G T O R O N T O ’ S G R O W I N G A RT S C O M M U N I T Y T O D AY, A N D F O R E V E R
As Naming Donor of the Four Seasons Centre for the Performing Arts, we are proud to be a lifelong friend of the fine arts experience for the patrons here and from around the world.
ENJOY THE PERFORMANCE
fourseasons.com
E. LOUISE MORGAN SOCIETY The e. louise Morgan Society was created to reflect the vision and commitment of its founder and the members who have created a legacy of leadership, passion and philanthropy in support of the goals of the Canadian Opera Company. each of these donors has contributed a cumulative total of more than one million dollars over the past 15 years. Their support is critical to the company’s success and we are forever indebted to their commitment and generosity. The estate of dr. larry M. Agranove ArIAS: Canadian Opera Student development fund The Gerard & earlaine Collins foundation The late John A. Cook The estate of horst dantz and don Quick Kolter Communities
The Catherine and Maxwell Meighen foundation roger d. Moore e. louise Morgan Joey & Toby Tanenbaum Anonymous (2)
MAJOR GIFTS & SPECIAL PROJECTS The COC offers its sincere thanks to the individuals listed below for their extraordinary support. PRODUCTION UNDERWRITERS Demonstrating their leadership and generosity, these donors have underwritten the COC’s mainstage productions. $500,000 + Jerry & Geraldine heffernan The Catherine and Maxwell Meighen foundation $100,000 – $499,999 Mark & Gail Appel Anne & Tony Arrell Philip deck & Kimberley bozak Tim & frances Price david roffey & Karen Walsh Colleen Sexsmith
PERFORMANCE AND ARTIST SPONSORS The following donors extend their generous support to individual artists and performances. $100,000 + Jack Whiteside
Up to $25,000 Paul bernards robert Sherrin The Stratton Trust Carol Swallow dr. david Stanley-Porter & dr. Colin McGregor Mailer Ms Kristine Vikmanis & Mr. denton Creighton
ENSEMBLE STUDIO SUPPORTERS Encouraging the next generation of artists, these donors support the COC’s Ensemble Studio. $1,000,000 Peter M. deeb
Up to $25,000 ArIAS: Canadian Opera Student development fund Marcia lewis brown Margaret harriett Cameron and the late Gary Smith Classical 96.3 fM ninalee Craig Catherine fauquier Patrick hodgson family foundation Peter & hélène hunt Marjorie & roy linden Jo lander Tom C. logan James nicol and Christine Milne OCC lasik brian Wilks
$500,000 – $999,999 The Slaight family foundation
GENERAL PROGRAM SUPPORTERS
$25,000 – $499,999 Anne & Tony Arrell ethel harris & the late Milton e. harris roger d. Moore The Stratton Trust
$100,000+ George S. dembroski Judy & Wilmot Matthews
$25,000 – $49,999 earlaine Collins Patrick & barbara Keenan françoise Sutton Anonymous (1)
Please visit coc.ca for additional information
Providing General Program support is critical to the COC’s artistic mission.
$25,000 – $99,999 William & Phyllis Waters Up to $24,999 Anonymous (3)
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A scene from the COC's The Nightingale and Other Short Fables, 2009. Photo: Michael Cooper
Make the most of your opera experience! The President’s Council and Golden Circle programs help make possible many of the company’s activities. New productions, the COC Ensemble Studio program, our education and outreach initiatives – these are just a few of the reasons why President’s Council and Golden Circle gifts are so crucial to our future. President’s Council and Golden Circle members share in the excitement of opera in new ways through events and activities, receive personalized service for ticket purchases and exchanges, and enjoy exclusive use of the Henry N. R. Jackman Lounge at all opera performances. For further information, contact us at presidentscouncil@coc.ca or call 416-363-5801.
*The COC recognizes donations from all individual giving programs with a charitable tax receipt for the maximum amount allowable under the Canada Revenue Agency guidelines.
MAJOR GIFTS & SPECIAL PROJECTS ENDOWMENT SUPPORT Making a gift to the Endowment ensures long-term stability for the COC and its artists. $100,000 + hon. henry n. r. Jackman Anonymous (1) $25,000 - $99,999 Michael W. & Wanda Plachta endowment fund Up to $25,000 Anonymous (1)
LEGACY AND BEQUEST GIFTS
MEMORIAL AND HONORARY DONATIONS
The COC honours the memory of the following patrons, whose vision and generosity has provided lasting support.
The COC expresses its sincere appreciation to all donors who have made memorial and honorary donations.
estate of helen Allen (Stacey) estate of Walter Carsen‡ estate of horst dantz & don Quick‡ estate of Phillipp eberhardinger estate of Mary b. Godfrey estate of Judith howard estate of ethel berney Jackson‡ estate of borge John Kraglund estate of J. bruce Macdonald‡ estate of J.M. (doc) Savage‡ estate of Sarka Spinkova estate of Kathryn Thornton‡ estate of Vivian Treacy ‡ estate of hugh Victor Wallace estate of Jean Yack Wright
In Memory of Sam Ajzenstap Yvonne Chiu, CM Jack Culiner Mary roxalyn finch freddy Kremer lotfi Mansouri Aleksandar Petričic Magda riets norma louise rogers
‡ designates funds directed to the COC’s endowment
In Honour of After School Opera Program earlaine Collins ninalee Craig natalia lobach ruth Manke Kevin Sean Pook Tim and frances Price Mike Scott Colleen Sexsmith letty Snethen diane Visentin As of January 9, 2014
INDIVIDUAL GIVING ANNUAL SUPPORT GOLDEN CIRCLE GOLDEN CIRCLE COMMITTEE Mark Appel Stewart burton Stephen Marshall Judy Matthews frances Price (Chair) Colleen Sexsmith Michele Symons GOLD, $50,000 + Anne & Tony Arrell**** Cecily & robert bradshaw* david G. broadhurst* In memory of Gerard h. Collins**** Jerry & Geraldine heffernan**** The Catherine and Maxwell Meighen foundation**** roger d. Moore**** Arthur & Susan Scace**** Colleen Sexsmith***
SILVER, $25,000 – $49,999 Andrew Peller limited* Mark & Gail Appel*** Paul bernards*** barbara black* The black family foundation Philip deck & Kimberley bozak*** George & Kathy dembroski**** Michael Gibbens* ethel harris & the late Milton harris**** douglas e. hodgson**** rennie & bill humphries**** ronald Kimel & Vanessa laPerriere**** Susan loube & William Acton* James nicol & Christine Milne Jack Whiteside***
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BRONZE, $12,500 – $24,999 dr. & Mrs. hans G. Abromeit**** Philip & linda Armstrong** Ms nora Aufreiter* Mr. Philip J. boswell†**** Walter M. & lisa balfour bowen**** Susanne boyce & brendan Mullen*** rob & Teresa brouwer* Marcia lewis brown* Stewart & Gina burton* Wendy M, Cecil**** dr. John Chiu in memory of Yvonne Chiu, C.M.**** Mr. & Mrs. Alexander Christ**** Stephen Clarke & elizabeth black** The Max Clarkson family foundation**** J. rob Collins & Janet Cottrelle**** Sydney & florence Cooper*
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Ensemble Studio The Canadian Opera Company Ensemble Studio is the country’s premier opera training program. Since 1980, more than 150 young Canadian singers, stage directors, apprentice opera coaches and conductors have acquired their first professional operatic experience through this program, including such well known singers as Ben Heppner, Isabel Bayrakdarian, John Fanning, Wendy Nielsen, David Pomeroy, Joseph Kaiser, Lauren Segal and Krisztina Szabó. For more information about supporting the COC Ensemble Studio, please call 416-847-4949 or visit coc.ca.
Ambur Braid as Vitellia and Rihab Chaieb (kneeling) as Sesto in the COC Ensemble Studio performance of La clemenza di Tito, 2013. Photo: Michael Cooper
ninalee Craig*** Mr. & Mrs. leslie dan*** Jean davidson & Paul Spafford**** Jill denham & Stephen Marshall** david & Kristin ferguson**** George fierheller**** lloyd & Gladys fogler*** four Seasons hotels & resorts** Adam & Sharin froman* roger & Kevin Garland** Ira Gluskin & Maxine Granovsky Gluskin*** The hon. William C. Graham & Mrs. Catherine Graham**** William & nona heaslip foundation**** Peter hinman & Kristi Stangeland Michael & linda hutcheon**** Intact financial Corporation Trinity Jackman* bernhard & hannelore Kaeser**** Jeff lloyd & barbara henders* Mr. & Mrs. J. S. A. Macdonald**** bobby & Gordon Macneill** Judy & Wilmot Matthews* John & esther Mcneil*** don McQueen & Trina McQueen, O.C.** John McVicker & b. W. Thomas**** delia M. Moog*** Jonathan Morgan & Shurla Gittens* Sue Mortimer**** nicholas & rosemary Mutton* dr. M. l. Myers & the late dr. W.P. hayman*** Mrs. Christl & Mr. Karl niemuller** donald O’born*** Peter M. Partridge**** Mr. Ian & Mrs. Michelle Pearce Mr. Tim & Mrs. frances Price**** Ms r. raso**** david roffey & Karen Walsh*** barrie d. rose & family*** John A. rothschild** Philip & Maria Smith** Stephen & Jane Smith**** Marion & Gerald Soloway** david e. Spiro*** david Stanley-Porter**** ryerson & Michele Symons riki Turofsky & Charles Petersen** Ms Kristine Vikmanis & Mr. denton Creighton**** PRESIDENT’S COUNCIL PRESIDENT’S COUNCIL COMMITTEE Mary-Catherine Acheson Catherine bergeron diane Adamson-brdar Thomas J. burton ninalee Craig Gladys fogler Marcia lewis brown Sue Mortimer Katalin Schäfer Colleen Sexsmith (Chair) Kristine Vikmanis Karen Walsh
TRUSTEE, $7,500 – $12,499 à la Carte Kitchen Inc. laurie & fareed Ali* Margaret Atwood & Graeme Gibson*** Mr. & Mrs. Avie bennett**** dr. david & Constance briant**** Marilyn Cook* Andrew fleming** rainer hackert**** J. hans Kluge** Jean V. Kramar** Mr. Gurney Kranz**** Paul lee & Jill Maynard**** Anne lewitt** Jerry & Joan lozinski**** Amy & John Macfarlane* The hon. barbara Mcdougall*** Kathleen Mclaughlin & Tim Costigan* Mark & Andrea McQueen*** rogan foundation Annie & Ian Sale* dr. david Shaw** françoise Sutton*** Carol Swallow*** PATRON, $3,750 – $7,499 Mr. Peter A. Allen* Sue Armstrong**** ron Atkinson & bruce blandford**** Mona h. bandeen, C. M.** Karen & bill barnett* l. h. bartelink in memory of Oskar & Irmgard Gaube** dr. frank bartoszek & Mr. daniel O’brien**** dr. Thomas h. beechy**** doug & Alison bell Mr. & Mrs. eric belli-bivar*** dr. Catherine bergeron*** Tom bogart & Kathy Tamaki** dr. Jane brissenden & dr. Janet roscoe**** Mrs. donna brock*** Margaret & derek brown**** Alice burton*** Joe & laurissa Canavan Cesaroni Management limited*** Paul G. Cherry & dean C. noack**** frank Ciccolini**** The rt. hon. Adrienne Clarkson Mr. & Mrs. William J. Corcoran*** lindy Cowan† & Chris hatley*** norman Curtis**** Ms lindsay dale-harris & Mr. rupert field-Marsham**** brian J. dawson*** dr. Jeanne deinum**** Carol derk & david Giles** Mrs. A. ephraim diamond & family**** Jeffrey douglas Peter & Anne dotsikas** Vreni & Marc ducommun*** ron dyck & Walter Stewart*** bud & leigh eisenberg*** Joseph fantl & Moira bartram** fleur-de-lis Interior design*
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Kimberley fobert & robert lamb†*** The fraser elliott foundation**** dr. & Mrs. Wm. O. Geisler** The honourable Irving Gerstein & Mrs. Gail Gerstein** ben & Sarah Glatt**** Ann J. Gibson**** Peter & Shelagh Godsoe** rose & roger Goldstein**** Michael & Anne Gough**** ronald & birgitte Granofsky**** douglas & ruth Grant* John & Judith Grant** Al & Malka Green** John Groves & Vera del Vecchio**** James & Joyce Gutmann**** hampton Securities ltd.* Scott & ellen hand*** Maggie hayes** hon. & Mrs. Paul hellyer**** Michiel horn & Cornelia Schuh**** Scott Irvine† & Joan Watson†*** The Jackman foundation*** Victoria Jackman*** Mr. robert C. Jefferies**** dr. Joshua Josephson & Ms elaine lewis**** lorraine Kaake**** Patrick & barbara Keenan**** dr. Joel Keenleyside**** Jim & diane King** Joseph Kerzner & lisa Koeper**** dr. elizabeth Kocmur**** Mr. Philip lanouette** John b. lawson, Q.C.**** Mr. J. levitt & Ms e. Mah* daniel & Janet li* Vincent & helene lobraico* Tom C. logan* Jonathan & dorothea lovat dickson** Mrs. J. l. Malcolm* dr. & Mrs. M. A. Manuel* hon. Margaret McCain*** Paul & Jean McGrath**** ronan McGrath & Sarah Perry* June Mclean**** Mr. Ian McWalter* Mr. Ulrich Menzefricke**** dr. Judith A. Miller*** Mr. noel Mowat** eileen Patricia newell*** Sally-Ann noznesky**** e. Oliana & A. Iu*** Janice Oliver** Keith & brenda Ottaway*** The Ouellette family foundation dr. & Mrs. William M. Park**** douglas l. Parker**** John & Gwen Pattison* Polk family Charitable fund** Julian Porter, Q.C.* Mary Jean & frank Potter*** Margrit & Tony rahilly**** rob & Penny richards*** Margaret A. riggin* Gordon robison & david Grant* Maxwell l. rotstein & nancy-Gay rotstein****
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Cameron rusaw & Anne-Marie Sorrenti Judy & hy Sarick**** Sam & esther Sarick**** helen & John Scott** June Shaw & the late dr. ralph Shaw**** Allan & helaine Shiff**** david & hilary Short*** Judy & hume Smith**** dr. harley Smyth & Carolyn McIntire Smyth* dr. John Stanley & dr. helmut reichenbächer** drs. Wayne Stanley & Marina Pretorius* doreen l. Stanton**** Mr. & Mrs. Gordon Taylor*** Wendy J. Thompson Anthea Thorp**** Vincent Tovell, O.C.*** Ian Turner** dita Vadron & James Catty* rosalind & dory Vanderhoof** donald & Margaret Walter**** hugh & Colleen Washington* William r. Waters**** ruth Watts-Gransden**** dr. Virginia Wesson*** dr. Jack Williams & dr. dorothy Pringle*** Ms lilly Wong* Tom and ruth Woods**** Mr. & Mrs. richard Wookey*** linda Young* Tricia Younger* The Youssef-Warren foundation**** helen Ziegler*** Sharon Zuckerman**** Anonymous (6) MEMBER, $2,250 – $3,749 The Acheson family foundation** d. C. Adamson-brdar**** Susan Agranove & estate of dr. larry M. Agranove**** donna & lorne Albaum* Mr. & Mrs. roberto & nancy Albis*** david & debbie Allan Clive & barbara Allen**** Mr. Thomas & Mrs. Claire Allen** dr. d. Amato & Ms J. hodges**** Anne-Marie h. Applin*** Valerie Armstrong**** Philip Arthur & Mary Wilson* Virginia Atkin*** John bailey** James C. baillie* Marilyn & Charles baillie**** Andrew & Cornelia baines**** Janice A. baker**** richard J. balfour*** Schuyler bankes & family*** lindy barrow** Julia bass & david hamilton*** Alice & Tom bastedo** dr. Gail beck, O. Ont. & Mr. Andrew fenus* Mr. & Mrs. Peter & Sondra beck*
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Ms Marie bérard†*** nani & Austin beutel**** dody bienenstock** John & Mandy birch* Anneliese and Walter blackwell**** lynn blaser & John van Ogtrop**** darlene & Peter blenich* Ian & Janet blue** John & Ila bossons** Mr. W. bowen & Ms S. Gavinchuk†**** Mrs. Carolyn bradley-hall & Mr. William bradley*** Mrs. richard bradshaw*** Peter brieger & beverley hamblin* Murray & Judy bryant*** brian bucknall & Mary Jane Mossman**** Christopher & elizabeth buller Thomas J. burton** Maureen Callahan & douglas Gray** Margaret harriett Cameron**** Sharon & howard Campbell** brian & ellen Carr**** Gail Carson**** Ms Carol Cass dr. & Mrs. Albert Cheskes** birte von Chlumecky-bauer** John d. Church dr. howard M. Clarke*** edward Cole & Adrienne hood** brian Collins & Amanda demers* Tony & elizabeth Comper* Murray & Katherine Corlett**** harold & Anita Corrigan*** dr. lesley S. Corrin**** bram & beth Costin Gay & derek Cowbourne** Mr. John A. Crocker & Mrs. Mary Crocker ruth & John Crow*** Mary beth Currie & Jeff rintoul Carrol Anne Curry*** doris J. daughney david denison & Maureen flanagan** Michael & honor de Pencier**** Mrs. rosario de Wit-farro*** Mrs. leonard G. (Anne) delicaet & Mrs. Kendra Anne delicaetAlmasi**** Mary-Kathleen delicaet & John Young Angelo & Carol delZotto*** Mr. & Mrs. A. J. diamond* J. diGiovanni* Olwen & frank dixon** James doak & Patricia best** Sandra Z. doblinger** Ms Petrina dolby*** dr. James & Mrs. ellen downey** Marko duic and Gabriel lau**** Mr. Albert d. dunn* Mr. Vlad dzavik William & Gwenda echard**** Jean Patterson edwards* Wendy & elliott eisen**** Mr. John J. elder & family**** Jordan elliott & lynne Griffin robert elliott & Paul Wilson**
Canadian Opera Company 2013/2014 Season
Christoph emmrich & Srilata raman dr. & Mrs. John evans*** fabris Inc.* Mr. eddy fan George A. farkass* Gail & bob farquharson darren farwell Catherine fauquier*** bill fearn & Claudia rogers**** Mr. & Mrs. fraser M. fell**** lee & Shannon ferrier*** William & rosemary fillmore** Mrs. lois fleming**** J. e. fordyce**** david & elizabeth forster*** Margaret & david fountain**** linda & Ken foxcroft* Mrs. Ingrid fratzl Mr. Michael A. french** robert fung** John & rita Gagliano* rev. Ivars Gaide & rev. dr. Anita Gaide*** Ann Gawman*** dr. barry A. Gayle**** Mary & lionel Goffart* dr. eudice Goldberg* dr. fay Goldstep & dr. George freedman** deanna A. Gontard**** Tina & Michael Gooding*** Wayne A. Gooding**** Goodman family* dr. noëlle Grace & The Shohet family*** Jane Greene** Mr. finn Greflund & Mrs. M. Ortner** Mr. Carmen & Mrs. Vittoria Guglietti** ellen & Simon Gulden**** Mr. & Mrs. henry hackenspiel**** dan hagler & family*** Mr. Adrian J. hamel George & Irene hamilton**** John & ruth hannigan* beverly hargraft** Paul & Margaret harricks* Michael harris & Carol rak* Mr. & Mrs. William b. harris*** Paul & natalie hartman* Mr. harquail & dr. Sigfridsson* Caroline helbronner** Jacques & elizabeth helbronner*** Thea herman & Gregory King*** William e. hewitt*** Mr. Tom higgins*** Chris hoffmann & Joan eakin** Pamela hoiles Sally holton & Stephen Ireland*** emmy & Walter homburger*** drs. Walter & Virginia hryshko* Anthony C. J. humphreys**** Gillian humphreys* Peter & hélène hunt**** eva Innes & david Medhurst dr. Melvyn l. Iscove*** elliott Jacobson & Judy Malkin** Paul Jaggard & ruth Caswell lynne Jeffrey***
laurence Jewell** The norman & Margaret Jewison Charitable foundation**** Mrs. e. Patricia Johnson** Ms elizabeth Johnson** dr. Albert & bette Johnston* Joyce Johnston*** Alexandra Jonsson Ms Miriam Kagan Inta Kierans**** ellen & hermann Kircher**** Martin Kirr Mr. douglas Klaassen** Michael & Sonja Koerner** Murray & Marvelle Koffler**** robin Korthals & Janet Charlton** dr. robert Kosnik**** Valarie Koziol* William & eva Krangle**** richard T. la Prairie* elizabeth & Goulding lambert*** leslie & Jo lander**** Marc lebeau & Guylaine lefebvre dr. Connie lee** linda lee & Michael Pharoah**** neal & dominique lee** dr. richard lee & Mr. Gary Van haren** Alexander & Anna leggatt*** Joy levine*** Mr. Peter levitt & Ms Mai Why** l. liivamagi & dr. d. n. Cash Justin S. linden Marjorie & roy linden**** dr. & Mrs. W. G. lindley**** Janet & Sid lindsay*** Anthony J. lisanti*** dr. Vance logan*** A. benson lorriman**** douglas l. ludwig & Karen J. rice*** James & Connie Macdougall**** Mr. Jed MacKay**** dr. & Mrs. richard Mackenzie**** Macro Properties ltd.** Ole P. Madsen* Mr. A. Mafrici**** Susan & Scott Maidment*** dr. Colin McGregor Mailer**** r. Manke**** Mr. & Mrs. r. Gordon Marantz**** fernando & Marietta Martinez-Caro Jill & Geoff Matus** roberto Mauro† & erin Wall Mrs. ettore Mazzoleni*** dr. & Mrs. John A. McCallum**** Wendy & Chris Mcdowall** dr. & Mrs. donald C. McGillivray**** darcy & Joyce McKeough* Mr. brent Mclaughlin don Mclean & diane Martello Guy & Joanne Mclean**** M. e. Mcleod**** Shawn Mcreynolds & elaine Kierans* dr. don Melady & Mr. rowley Mossop*** eileen Mercier**** Ms Andrea Miller Marvene (Cox) & Gordon Miller**
lee Milliken† & doug Macnaughton** Patricia & frank Mills** dr. & Mrs. Steven Millward Audrey & david Mirvish*** bruce & Vladka Mitchell* dr. david n. Mitchell & dr. Susan M. Till*** robert & Janet Mitchell* eva Mocarski* dr. & Mrs. S. Mocarski* Anne Moore**** Mr. robert Morassutti**** ruth Morawetz & Ken Judd*** Alice Janet Morgan*** Ms rosalind Morrow** drs. Christopher & Pippa Moss*** Gael Mourant & Caroline hubberstey Mr. Joseph Mulder** ethel Myers**** Matt & debbie Mysak*** david & Mary neelands*** dr. Shirley C. neuman** dr. John & Pamela newall**** dr. emilie newell* dr. Steven nitzkin*** Simon & Marlene nyilassy* dr. James & Mrs. Valda Oestreicher*** benson Orenstein*** Martin & Myrna Ossip* Clarence & Mary Pace** dr. & Mrs. n. Pairaudeau**** dr. roger d. Pearce*** dr. A. Angus Peller* John & Penelope Pepperell* dr. r. G. Perrin** John & Carol Peterson** M. J. Phillips**** June C. Pinkney**** robin b. Pitcher*** Wanda Plachta*** Georgia Prassas**** Ms Jill Presser & Mr. John duffy* dr. Mark Quigley**** Stephen ralls & bruce Ubukata*** Professor C. edward rathé**** The Carol & Morton rapp foundation**** Kenneth f. read**** Mrs. richard Gavin reid* Grant l. reuber*** Mrs. Gabrielle richards** Carolyn ricketts**** Ms nada ristich emily & fred rizner** Clara robert* dr. Michael & Mary romeo**** John & hannah rosen* Ken & helen rotenberg** rainer & Sharyn rothfuss**** The roux family Peter A. roy & leah Taylor roy drs. Orest & Maureen rudzik**** david A. ruston*** Ms Sharon Cookie Sandler**** Mallory Morris Sartz & John Sartz**** Go Sato***
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dr. & Mrs. bruce Schaef**** Katalin Schäfer*** fred & Mary Schulz** dr. Marianne Seger**** Carol Seifert & bruno Tesan*** Victor & rhoda Shields**** Milton & Joyce Shier**** dr. Kevin Shiffman** William Siegel & Margaret Swaine** dr. bernie & Mrs. bobbie Silverman** In memory of dr. bernard Slatt* dr. & Mrs. Jeremy Sloan** brit & Sally Smith** Jay Smith & laura rapp* Ms Muriel Smith & Mr. eric Ojala**** dr. Joseph So*** Philip Somerville* John & ellen Spears*** Martha e. Spears*** Phil Spencer**** Alex & Kim Squires**** Oksana r. Stein*** Mr. & Mrs. Gary & Sula Stern* dr. & Mrs. Stephen Stern*** John d. Stevenson**** Jim Stewart & deborah Swail* James h. Stonehouse* Janet Stubbs** eric Tang & dr. James Miller** Judith Teller foundation**** Tesari Charitable foundation** elizabeth Tory**** Mr. Alex Tosheff* diana Tremain**** Sandra & Guy Upjohn*** dr. r. b. Van Winckle* edmond & Sylvia Vanhaverbeke**** Stefan Varga & dr. Marica Varga Mr. & Mrs. henry & Ann louise Vehovec*** dr. Yvonne Verbeeten** dr. helen Vosu & donald Milner**** richard & nathalie Wachsberg* dr. O. r. Waler* elizabeth & Michael Walker*** Ann & Marshall Webb** Peter Webb & Joan York**** Philip & diana Weinstein* dr. bogomila Welsh* Ms eleanor Westney** Melanie Whitehead** Mr. brian Wilks* elizabeth Wilson & Ian Montagnes**** Jeffrey Stewart Wilson* Mr. dale Woolridge dr. Jackson Wu & dr. Viviana Chang* Ms June Yee** Morden Yolles**** dr. howard & Sybil Young**** helen & Walter Zwig**** Anonymous (31)
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A scene from the COC's Gianni Schicchi, 2012. Photo: Michael Cooper
Join us! Today’s performance has been made possible, in part, by the generosity and loyal support of the Friends of the COC*. Our Friends also support our education and outreach programs and Ensemble Studio training program. Become a Friend of the COC and you can join us in the Friends Lounge at all COC performances, enjoy special behind-the-scenes working rehearsals and events, receive our newsletter Prelude, as well as gain access to single tickets one week prior to the public. All gifts will be gratefully acknowledged with a charitable tax receipt. For more information, please stop by the Friends Lounge located on Ring 3, visit coc.ca, or call 416-847-4949.
*Friends of the COC give a charitable membership gift between $150 – $2,249 annually.
FRIENDS OF THE COC SUSTAINING FRIENDS $1,600 – $2,249 Yvonne blaszczyk Iivi Campbell**** elaine & Michael davies**** Jayne & Ted dawson**** bill heaslip**** I. Mcdorman**** dr. norbert V. Perera**** david Smukler & Patricia Kern** The Sorbara Group**** Vernon & beryl Turner**** Ms eda Varalli Gordon Waugh***
dorothy & robert ross*** M. & G. Sanvido**** Ms elisabeth Scarff**** Joan Sinclair & John McConnell** dr. & Mrs. W. K. Stavraky*** norma & George Steiner**** dr. & Mrs. Karel Terbrugge* Ms Peg Thoen* Angela Thompson dr. M. lynne Thurling & dr. John Treilhard*** Mr. & Mrs. david G. Trent**** Valery lloyd-Watts Janet White** ron Williams* Anonymous (8)
ASSOCIATE FRIENDS $1,100 – $1,599 Carol & ernest Albright**** Ms I. M. Allen**** Gail Asper O.C., O.M., lld Michael & Janet barnard** Michael benedict & Martha lowrie**** don biderman**** dr. & Ms b. M. braude** dr. Wendy C. Chan Patricia Clarke** Cogeco data Services Inc. Mr. Stuart davidson Mr. darren day*** Mr. Steven d. donohoe**** Mr. larry enkin*** dr. James M. ferguson Mr. Morris flicht**** r. dalton fowler**** John h. Galloway**** ricardo Gomez-Insausti* Mrs. Suzy Greenspan** Mr. James hamilton* Mr. & Mrs. h. C. hatch**** lawrence & beatrice herman**** In memory of Pauline hinch* haim & Mardi hirshberg* david holdsworth & nicole Senécal* richard & Susan horner**** Mr. Josef hrdina* donald hughes*** James hughes** Karen & Craig* Ms Suanne Kelman & dr. Allan J. fox* Mrs. Mary liitoja**** deidre lynch* P. Anne Mackay**** Mrs. Janet Maggiacomo** Georgina Mclennan**** dr. davender Mehra & Mrs. ellis Galea Kirkland Mr. Carl Morey**** Mr. Sean O'neill*** Ms Marianne Orr* eileen & ralph Overend* Mr. Martti Paloheimo** barbara & Peter Pauly** Ms Victoria Pinnington*** Alice Pitt & deborah britzman Mr. & Mrs. domenic Porporo* Prometheum Institute*** dr. Peter ray***
CONTRIBUTING FRIENDS $700 – $1,099 dr. I. l. babb fund at the Toronto Community foundation**** Peter & leslie barton** Mrs. lynn bayer*** dr. robert bell Catherine belyea† Jeniva berger*** Anthony bird**** dr. b. derek & dr. Anne W. birt**** dr. Jennifer blake* ellen & Murray blankstein Mary brock & brian Iler**** Mr. Thomas n. bryson** Ms Judith burrows** Ms e. burton*** betty Carlyle**** Mark Cestnik & natercia Sousa**** Geoffrey & bilgi Chapman**** harold Chmara & danny hoy**** Jillian Clarke Joe T. r. Clarke**** Sherri Clarkson d. M. Cook*** robert d. Cook** Mr. neil Crawford* Professor K. G. davey** Anita day don deboer & brent Vickar*** Mr. Michael disney* dr. eric domville** Wendy drahovzal dr. Christine dunbar** howard & Kathrine eckler** Peter & Shashi eden** Ms eleanor l. ellins**** roger & Janet emery*** Mr. Arthur english* Joe & helen feldmann** brian A. ferguson**** Tom flemming**** Jennifer & frank flower*** Marie-lison fougere* Angelo furgiuele & family* douglas G. Gardner**** elinor Gill ratcliffe C.M., O.n.l., lld (hc) Alison Girling & Paul Schabas** Aviva & Andrew Goldenberg** dr. Wilfred S. Goodman**** david Gordon & Wendy flores Gordon* In memory of n. bruce Grandfield Mrs. Marion A. Green****
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dr. & Mrs. Voldemars Gulens**** dr. & Mrs. brian & Cynthia hands**** roy & Gail harrison**** Sandra hausman** In memory of Glenda henniger* Mr. Matthew hilgerdenaar In memory of Pauline hinch** Mr. Sylvain houle* dr. Ivan & Mrs. diana hronsky**** In loving memory of Joyce Whitney hughes Mr. Pierre hurtubise**** Mr. david hutton** Mr. Sumant Inamdar** Mr. Kazik Jedrzejczak**** douglas & dorothy Joyce**** Ms elisa Kearney Ms Meredith Keeve heidi & Khalid Khokhar**** lilian Kilianski† & brian Pritchard* Mai Kirch**** dr. & Mrs. l. A. Kitchell**** Mr. Christopher J. Kowal Mr. Jonathan Krehm* Gediminas P. Kurpis**** Mr. James r. lake**** harry lane** M. J. horsfall large** Miss donna lasecki**** Giles le riche & rosemary Polczer*** Claus & heather lenk* Mr. Yakov lerner Jason & Stephanie lewis dr. francois loubert* Mr. Andrew & Mrs. harriet lyons Kathy Marton* Mary McClymont**** Mary McGowan**** Jil McIntosh** Mr. bruce McKeown*** Janis Medland* Sylvia McPhee**** Suzanne Mess*** dr. Alan C. Middleton** Kamini & lynne Milnes frank & Anne Moir** Anne Murdock** Mr. Tomi nishio**** david northcote & Suzanne betcke* Ms Cristina Oke** Karen Olinyk†* Mr. James C. Pappas**** Mr. Joseph & Mrs. letizia Paradiso*** Pauline & donald david Peachey & Georgia henderson** Mrs. dorothy K. Piepke**** ed & beth Price*** Mr. robert radke dr. Shelley rechner**** Marat ressin Ms laura rimas* Mr. Jason roberts** Ms Virginia robeson* Amye & deeAnn hagler Sagar† William & Meredith Saunderson****
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Patti & richard Schabas** nancy A. Schiefer in memory of Walter Schiefer*** Schuyler bankes & family*** henry & Mary Seldon**** Cheryl Shook** d. bruce Sinclair** John Spears**** helga & Klaus Stegemann*** Jane & Ted Stephenson**** hamish Stewart & Susan Taylor**** Stoesser law Office Ms Michelle Tan** dr. r. Paul Thompson* ria Tietz**** dr. Claude Tousignant** Mrs. Maria Tulip**** Mrs. norene Turvolgyi**** dr. nancy f. Vogan**** Mr. Wayne Vogan†**** George Vona & lark Popov** dr. Peter Voore*** Angela & Michael Vuchnich**** Mr. John M. Welch**** James & Margaret Whitby**** nina Wright** Ms Iris Zawadowski* Anonymous (5) THE ENCORE LEGACY The encore legacy is the planned giving program of the Canadian Opera Company. Planned giving is making the decision today to provide a gift for the Canadian Opera Company that may not be realized until after your lifetime. Gifts planned today, that will ultimately affect your estate, allow you to make a statement of support that will become a lasting legacy to the COC. The Canadian Opera Company gratefully acknowledges and thanks the following individuals who have included the COC in their estate planning: Susan Agranove & estate of dr. larry M. Agranove Isobel Allen renata Arens & elizabeth frey Mrs. rosalen Armstrong ron Atkinson & bruce blandford lindy barrow Mr. l. h. bartelink J. linden best & James G. Kerr david bowen Marnie M. bracht Gregory brandt Ann Christie earl Clark The rt. hon. Adrienne Clarkson brian Collins & Amanda demers earlaine Collins david h. Cormack
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ninalee Craig Anita day & robert Mcdonald Ann de brouwer helen drake rowland d. Galbraith douglas G. Gardner Ann J. Gibson Michael & Anne Gough l. A. Grover George & Irene hamilton Joan l. harris James hewson John r. higgins Mr. Kim Yim ho & Walter frederic Thommen douglas e. hodgson Matt hughes Michael & linda hutcheon lynne Jeffrey Ann Kadrnka ben Kizemchuk Kathryn Kossow Mr. Gurney Kranz Jo lander Peggy lau Tom C. logan, A.r.C.T. Marjorie & roy linden Ms lenore Macdonald dr. Colin M. Mailer r. Manke Tim & Jane Marlatt Mr. Shawn Martin Margaret McKee Sylvia M. McPhee dr. Alan C. Middleton eleanor Miller Sigmund & elaine Mintz donald Morse Sue Mortimer Mr. & Mrs. James d. Patterson Mervyn Pickering Gunther & dorothy Piepke Wanda Plachta Ms Georgia Prassas K. f. read dr. John reeve-newson Mrs. Margaret russell Cookie & Stephen Sandler Claire Shaw r. bonnie Shettler david e. Spiro dr. d. P. Stanley-Porter doreen l. Stanton lilly Offenbach-Strauss drs. W. & K. Stavraky Janet Stubbs Ann Sutton ronald Taber Mrs. l. Treutler riki Turofsky & Charles Petersen n. Suzanne Vanstone Marie-laure Wagner hugh & Colleen Washington Marion C. Wilson Marion York Tricia Younger Anonymous (59)
Canadian Opera Company 2013/2014 Season
OPERATOURS DONORS $700 + (From October 2012 – December 2013) dr. eric W. Amann** howard & ruth barrett**** Ian & Janet blue** Ms Victoria burenko* Ms e. burton*** louise Coxall*** edward Cummings & Margaret Kelly**** ben & Sarah Glatt**** dr. Irene Gulka* donald Gutteridge & Anne Millar**** Ms fawzia Khan* dr. elizabeth Kocmur**** earl law**** Mrs. J. l. Malcolm* Ms Antonieta Marticorena**** Mary McClymont**** Mr. Alex Moraru* Mrs. Christa nimmo**** Mr. Michael r. Overbury*** rainer & Sharyn rothfuss**** Mr. Michael Samborsky** beverly & fred Schaeffer**** Stephen & Jane Smith**** Paul & Maria Szasz**** Ms Grace Szczerbowski ria Tietz**** david roffey & Karen Walsh*** Ms June Yee** Anonymous (5) CORPORATE MATCHING PARTNERS The Canadian Opera Company gratefully acknowledges the following organizations that have matched gifts by their employees: Canadian Tire Corporation limited IbM Canada ltd. Ivanhoe Cambridge Inc Goodman & Company, Investment Counsel ltd. fM Global foundation The above Individual Support Gifts were made as of January 7, 2014 * ** *** **** † ‡
five to nine years of support 10 to 14 years of support 15 to 19 years of support 20 or more years of support COC administration, chorus or orchestra member endowment
despite the staff’s extensive efforts to avoid errors and omissions, mistakes can occur. If your name was omitted, listed incorrectly or misspelled, we apologize for any inconvenience this may have caused. We would appreciate being notified of any errors at 416-847-4949.
WARM UP THIS WINTER AT
THE OPERA SHOP This winter we’re introducing more I HEART COC custommade merchandise including mugs, pens, cufflinks and tie clips! And of course the beloved COC teddy bear is back! We’re thrilled to showcase once more the stunning jewellery of TwoA (right) and PJ Bundy and welcome for the first time Danielle O’Connor and her exquisite, handmade jewellery, featuring beautifully faceted stones. Also new to the Opera Shop is the vintage lace jewellery line of THISILK. The Opera Shop is located on the main floor of the Isadore and Rosalie Sharp City Room, open before, during, and (sometimes) after all performances.
MEET THE JEWELLERS! WINTER TRUNK SHOW DATES Saturday, February 1, 4:30 p.m. TwoA Jewellery Sunday, February 16, 2 p.m. PJ Bundy
Featured recordings from Universal Classics: CD Così fan tutte, Decca. The Chamber Orchestra of Europe, Georg Solti, conductor. Renée Fleming, Anne Sofie von Otter, Adelina Scarabelli and Frank Lopardo. Sir Georg Solti’s digital Così, recorded live at London’s Royal Festival Hall in 1994, has been hailed as one of the finest versions of Mozart’s miraculous score on disc. Renée Fleming is a commanding Fiordiligi, conveying all that character’s tragic vulnerability with enough pathos to melt even the hardest of hearts. $38 including tax DVD Un ballo in maschera Deutsche Grammophon. The Metropolitan Opera Orchestra and Chorus and Ballet, James Levine, conductor. Luciano Pavarotti, Leo Nucci, Aprile Millo and Florence Quivar. Luciano Pavarotti’s sunny personality and quintessentially Italianate tone found their perfect match in Ballo’s blindly cheerful Riccardo, often cited as his greatest role. Piero Faggioni’s sumptuous production opts for the opera’s 18thcentury Swedish court setting. $25.75 including tax
The Opera Shop is a project of the Canadian Opera Company, in partnership with L’Atelier Grigorian and Decca – The Opera Label. All proceeds support the Canadian Opera Company.
MAJOR CORPORATE SPONSORS 2013/2014 SEASON bMO financial Group Pre-Performance Opera Chats and bMO financial Group Student dress rehearsals. Mozart’s Così fan tutte underwritten in part by
Official Automotive Sponsor of the COC at the fSCPA
Presenting Sponsor of SUrTITleS™
Major Supporter, ensemble Studio Competition Supporter, Centre Stage: ensemble Studio Competition Gala
Glencore ensemble Studio School Tour
Presenting Sponsor Opera Under 30 and Operanat10n: A Night of Temptation
Presenting Sponsor After School Opera Program
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Official Canadian Wine of the COC at the fSCPA
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Canadian Opera Company 2013/2014 Season
Production Sponsor Verdi’s A Masked Ball
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2013/2014 SPONSORS DIAMOND PERFORMANCE SPONSORS
HOSTING SPONSOR
PERFORMANCE SPONSORS barrick Gold burgundy Asset Management linden & Associates fionn MacCool’s four Seasons hotels and resorts McCarthy Tetrault llP norton rose Canada llP PWC PROGRAM SPONSOR Great West life, london life and Canada life, Living Opera Program Sponsor OPENING NIGHT SPONSOR fionn MacCool’s LA BOHÉME OPENING NIGHT SPONSOR San Pellegrino PREFERRED FLORISTS bloom The flower Company Quince flowers CORPORATE AND FOUNDATION DONORS MAJOR GIFTS $10,000+ Audrey S. hellyer Charitable foundation The hal Jackman fund at the Ontario Arts foundation J.P. bickell foundation The lloyd Carr harris foundation OCC lasik The Mclean foundation Anonymous (1) $5,000 to $9,999 225490 Investments limited local 58 Charitable benefit fund Unit Park holdings Inc. The hope Charitable foundation Shinex Window Cleaning Inc State Street $3,000 to $4,999 Classical 96.3 fM hicks Memorial fund at The Calgary foundation Vida Peene fund at the Canada Council for the Arts $2,000 to $2,999 d’Avignon freight Services Inc. Jarvis & Associates MAC Cosmetics Milgram Group of Companies ltd. Please visit coc.ca for additional information
$1,000 to $1,999 Aimia loyaltyOne Inc. McKinsey & Company The Powis family foundation CENTRE STAGE: 2013 ENSEMBLE STUDIO COMPETITION GALA COMPETITION SUPPORTERS rbC and rbC foundation Peter M. deeb hal Jackman foundation PLATINUM SPONSOR Mercedes-benz GOLD SPONSOR brookfield Asset Management extuple Scotiabank OPERANAT10N: A NIGHT OF TEMPTATION PRESENTING SPONSOR Td bank Group VIP SPONSOR J.P. Morgan OFFICIAL FRAGRANCE Calvin Klein dOWnTOWn PARTNERING SPONSORS burgundy Asset Management Globalive Communications Corp. CONTRIBUTING SPONSORS bMO financial Group Weirfoulds llP EVENT SPONSORS 10tation Alan Candy Chair-man Mills KAelen Knot Pr lilium Media needs Mill St. Perrier Sheridan nurseries Toronto life Trius Wines FINE WINE AUCTION 2013 PRESENTING SPONSORS Td Securities bloomberg SUPPORTING SPONSOR blake, Cassels & Graydon llP CHEESE SPONSOR Scheffler’s delicatessen & Cheese CHOCOLATE SPONSOR rheo Thompson Candies 2013/2014 MEDIA SPONSORS & IN-KIND SUPPORTERS remenyi house of Music ltd. 31
GOVERNMENT SUPPORT The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments.
OPERATING SUPPORT
We acknowledge the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country. nous remercions le Conseil des arts du Canada de son soutien. l’an dernier, le Conseil a investi 157 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.
ENSEMBLE STUDIO
SPECIAL PROJECT FUNDING for the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: department of Canadian heritage employment and Social development Canada
CREDITS & ACKNOWLEDGMENTS The Canadian Opera Company would like to thank all those who volunteer both on a daily basis and for special events with the company. Michael Cooper: Official photographer The COC is a member of Opera America and Opera.ca. The COC operates in agreement with Canadian Actors’ equity Association. The COC operates in agreement with I.A.T.S.e., local #58, local #822, local #828.
SUPERNUMERARIES Tasha Adhihetty nigel Atkinson richard brown diego Ceresoli Mariba douglas Arianna forgione Annie harsfai
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dylan Jardine-Wong Margot lariviere Makayla leggett Pico Madden Connor Mcneil Arman Mohammadpour Shawna notice-lue
Canadian Opera Company 2013/2014 Season
Isla Parekh Chyrell Samson brian Talugende Chiara Urban rowan Wilton lawrence Wraith
GOOSEBUMPS INCLUDED.
The power of emotions on stage can be experienced in many ways. We are proud to be the Presenting Sponsor of SURTITLES™ at the Canadian Opera Company, to help patrons experience every emotion under the sun - along with, of course, the goosebumps.
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SURTITLES is a registered trade-mark of the Canadian Opera Company.
ÂŽ Making the Arts More Accessible is a registered trade-mark of Sun Life Assurance Company of Canada.
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THINGS TO KNOW ABOUT VERDI’S
A MASKED BALL BY NIKITA GOURSKI AND GIANMARCO SEGATO
MAKING THE OLD NEW 1. It was the first and only time in Verdi’s
STOCKHOLM TO BOSTON 3. As Verdi worked on the opera with his
career that he adapted an already existing libretto, Gustave III, ou Le bal masque by Eugène Scribe. Scribe’s libretto had been set to music by French composer Daniel Auber in 1833 and enjoyed great success at its premiere in Paris.
translator and librettist, Antonio Somma, the royal censors in Naples demanded a number of changes. The opera went through three different titles, and just as many historical periods and locations (18th-century Stockholm, 17th-century Pomerania, 14th-century Florence), before ending up at the centre of a legal dispute between Verdi and the management of the Teatro San Carlo. The courts released Verdi from his contract in Naples, and the composer took his opera to another theatre in Rome. There, the original Swedish
A HISTORICAL OPERA 2. The libretto was based on the 1792 assassination of the progressive and widely adored King Gustav III of Sweden. Gustav was shot at a masked ball in Stockholm and died several days later. 18
Canadian Opera Company 2013/2014 Season
Above: The COC presents A Masked Ball. Catherine Naglestad as Amelia and Piotr Beczala as Riccardo in the Berlin Staatsoper production, 2008. Photo: Ruth Walz Below: Portrait of Verdi, 1886, by Giovanni Boldini (Galería Nacional de Arte Moderno de Roma)
setting was also rejected, but Verdi proposed 17th-century Boston as an alternative, with a governor instead of a king, which satisfied all parties involved. It was in this version that A Masked Ball finally premiered in Rome in 1859. The Boston setting was the standard version throughout Europe in Verdi’s lifetime, though within two years of the opera’s premiere, a production in Paris had set the action in Italy.
EXTERNAL DETAILS WEREN’T OF CRITICAL IMPORTANCE 4. The opera’s genesis shows that what was critical for Verdi in Masked Ball was Catch up with blogs and enjoy COC Radio at coc.ca.
not so much the outer detail – a particular city or a nobleman’s rank – but the universal structures that govern our most private and public relationships. 19
10 Things to Know About Verdi's A Masked Ball
The COC presents A Masked Ball. A scene from the Berlin Staatsoper production, 2008. Photo: Ruth Walz
A COMPLEX LOVE TRIANGLE 5. A Masked Ball marked Verdi’s move away from melodrama toward subjects of greater emotional complexity. The characters here are multi-faceted, experiencing intense conflicts of the heart and mind. The Governor Riccardo is in love with his best friend’s wife, Amelia, but realizes that unchecked ardour would only compromise her marriage and lead to misery. Similarly, Amelia feels real passion for Riccardo but can’t bring himself to betray her husband Renato. Meanwhile Renato – probably the most complex baritone part Verdi ever wrote – is devastated when he discovers what appears to be an affair between Amelia and Riccardo, the man he has sworn to protect with his life against a brewing conspiracy. Remarkably, Renato never turns into a one-dimensional villain and Verdi gives him a broad spectrum of conflicting emotions, from vengeful bloodlust that wants revenge, to grief at the breakdown of his marriage, and from pain at being betrayed to sorrow at the loss of a friend he loved and admired. 20
Canadian Opera Company 2013/2014 Season
BLENDING COMEDY AND TRAGEDY 6. This opera is Verdi’s most successful fusion of light and dark styles. The commingling of tragedy and comedy is most striking during the opera’s final scene when the stage band at the masked ball, apparently unaware that the Governor has been shot, continues to play upbeat dance music while Riccardo succumbs to his wounds.
VERDI LOOKS TO FRENCH MODELS 7. In composing to a French libretto, Verdi opted to use musical forms associated with 19th-century French opera. This is especially true of the music he wrote for the page Oscar, who often sings in straight-forward French couplets (two-versed songs) that lighten the mood with fun and mischief. The part of Oscar is traditionally performed as a pants role (a male character played by a female singer), but in this production Oscar’s character is presented as a young woman.
10 Things to Know About Verdi's A Masked Ball
A MODERN AMERICAN SETTING 8. This production takes place in an America of the 50s and 60s, but makes references to symbols and iconography outside that epoch – for example the extravagant outfit Oscar wears to the masked ball is a theatrical wink citing Björk’s “swan dress” at the 2001 Oscars. In drawing from a broad spectrum of real and mythic American tropes, this production presents a completely invented “modern America,” reinforcing Verdi’s artistic recommendation that “to copy reality can be a good thing, but to invent reality is much, much better.”
A VERSATILE HOTEL 9. The set is a hotel ballroom that can transform seamlessly into different locales of the opera. During Act II, for example, when Amelia is in a cemetery by the gallows, the lighting dims, the columns of the ballroom suddenly became transparent to reveal vine-like plants crawling upward, and chandeliers lower to create the illusion of treetops that rustle and sway in the wind. The single set complements the action of A Masked Ball, one of Verdi’s most compact and propulsive operas.
A RENOWNED DIRECTORIAL TEAM 10. Two-time winners of the “Directorial Team of the Year” recognition (2002 and 2012), selected by an international panel of 50 critics contributing to the magazine Opernwelt, Jossi Wieler and Sergio Morabito have also been the recipients of “Der Faust” – a major German theatre award – for best opera staging (2006 and 2012). They are renowned for immersing themselves deeply in the score and following the nexus of text and music to arrive at their production’s aesthetic and thematic focus. When Jossi Wieler was recently appointed head of the Stuttgart Opera, the Financial Times noted that it meant a welcome return to “productions based firmly on score and text” and praised him and Morabito for their “unshakeable faith in the score.” When it premiered in 2008, this production of A Masked Ball was hailed by Bloomberg for being “unashamedly entertaining” and having the “cinematic dynamism and the velocity of a good thriller.” n
A STELLAR CAST The production stars Canadian soprano Adrianne Pieczonka (Dialogues des Carmélites, Tosca), who makes her role debut as Amelia. Tenor Dimitri Pittas returns (La Bohème, Rigoletto) as the Governor Riccardo, while English baritone Roland Wood makes his COC debut as Renato. Russian mezzo-soprano Elena Manistina makes a welcome return as Ulrica after her Dora-award winning performance in the COC’s Il Trovatore (2012).
Adrianne Pieczonka (Amelia)
Dimitri Pittas (Riccardo)
Roland Wood (Renato)
Elena Manistina (Ulrica)
Nikita Gourski is Development Communications Officer and Gianmarco is Adult Education Manager at the Canadian Opera Company.
FOR FURTHER INSIGHT INTO THE CANADIAN OPERA COMPANY’S PRODUCTION OF A MASKED BALL, PLEASE READ VERDI GOES TO ELSEWHERE, U.S.A., IN THE WINTER ISSUE OF PRELUDE, AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.
Catch up with blogs and enjoy COC Radio at coc.ca.
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FALSTAFF VERDI
A Feast of Laughs Falstaff’s life of sport and pleasure comes crashing down when his appetites lead to an ill-advised seduction scheme in this adaptation of Shakespeare’s The Merry Wives of Windsor. Verdi had more fun writing Falstaff than probably anything else in his career, and it shows in the quicksilver melodies and upbeat tempos of this joyous, life-affirming comedy. This new COC production, directed by Robert Carsen, has already delighted audiences in New York, Milan and London, and transports us to England, circa 1950. It is a time when the aristocracy – represented by the lecherous yet lovable Sir John Falstaff – is fading into obscurity, while a powerful middle class is emerging. The battle between the noblesse and the nouveau riche takes us from the wood-panelled rooms of a posh country inn to the pastel-coloured kitchens of the bourgeoisie, from an enchanting scene in the forest to a lavish banquet, with Falstaff’s beloved food and drink a unifying theme throughout. World-famous Canadian baritone Gerald Finley makes his role debut as Falstaff, and serves up the always-welcome lesson of being able to laugh at ourselves. October 3 – November 1, 2014 NEW COC CO-PRODUCTION with Royal Opera House, Covent Garden; Teatro alla Scala, Milan; Metropolitan Opera and De Nederlandse Opera
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Main image: Gerald Finley. Photo: Gary Mulcahey, 2013. Inset: Falstaff (Teatro alla Scala, 2013). Photo: Rudy Amisano
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Canadian Opera Company 2013/2014 Season
EARLY DIAGNOSIS. PROMPT TREATMENT. BETTER OUTCOMES.
Complete a Comprehensive Health Assessment (CHA) at the Medcan Clinic and Medcan will give $250 to the Canadian Opera Company.* Beyond a traditional medical, Medcan’s detailed CHA includes: t 0OF IPVS DPOTVMUBUJPO XJUI B QIZTJDJBO t EJTUJODU IFBMUI TDSFFOJOH UFTUT t 0OTJUF UFTUJOH JO B TJOHMF WJTJU t "TTJTUBODF XJUI BOZ OFDFTTBSZ GPMMPX VQ DBSF
PHOTO: BOHUANG.CA
Be proactive and book your Comprehensive Health Assessment today.
“The head-to-toe medical provided important information. And Medcan was our advocate in navigating the system to ensure we received the follow-up care we needed.� — Alexander Neef General Director Canadian Opera Company Medcan is the Preferred Medical Services Provider for the Canadian Opera Company.
Call 416.350.7103 or email supportCOC@medcan.com and quote promo code: COC250. To learn more, visit medcan.com
* Comprehensive Health Assessment must be purchased at the regular retail rate.
Medcan Clinic :PSL 4USFFU 4VJUF 5PSPOUP 0OUBSJP . ) 4
SEE SIX OPERAS FROM JUST $
169
Puccini’s heartbreaking masterpiece of love, longing and loss Following its 1990 premiere, the COC’s exquisitely beautiful Madama Butterfly immediately achieved classic status as “one of the treasures of the COC’s collection” (Globe and Mail). It tellingly situates Butterfly’s little house as an island on the stage, revealing her isolation from family and community, as well as her ultimate abandonment by the American husband in whose empty vows she blindly places her future. Butterfly is simply the most vocally challenging, emotionally complex heroine in all Italian opera. She must embody strength and fragility in equal measure – qualities which abound in the great American singing actress Patricia Racette, whose Butterfly touched millions in the recent Metropolitan Opera HD transmission, and “can rightly stand among the great Butterflies of her era” (Opera News). Racette’s golden voice will carry Puccini’s best-loved melodies into the sonorous warmth of the Four Seasons Centre, and will be matched in beauty by the breathtaking simplicity of Brian MacDonald and Susan Benson’s impeccable production. Racette shares the role with her fellow American soprano, Kelly Kaduce.
MADAMA BUTTERFLY
October 10 – 31, 2014
PUCCINI
COC PRODUCTION
JOIN US IN 2014/2015
Production originally made possible by John A. Cook Main image: Patricia Racette. Photo: Gary Mulcahey, 2013. Inset: Allyson McHardy and Adina Nitescu in Madama Butterfly (COC, 2009). Photo: Michael Cooper
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Canadian Opera Company 2013/2014 Season
MASTERS MAS STERS OF F MUSIC MUSIC C L LOS OS ANGELES ANGELES PHI PHILHARMONIC LHARMONIC GUSTAVO DUDAMEL, CONDUCTOR WEDNESDAY, MARCH 19, 2014 8PM ROY THOMSON HALL Corigliano: Symphony No.1 Tchaikovsky: Symphony No. 5
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DON GIOVANNI MOZART
Don Giovanni’s dangerous allure is a force to be reckoned with in this game-changing production Mozart wrote three great operas with Lorenzo da Ponte: The Marriage of Figaro, Così fan tutte and Don Giovanni, which the COC will present next winter (2015). The starstudded cast includes Russell Braun, Jane Archibald and Michael Schade in director Dmitri Tcherniakov’s enthralling production of this darkly witty masterpiece in which Don Juan – the icon of seduction – is brought to blistering life, his almost supernatural, sexual magnetism undimmed as he faces his inevitable downfall. One of the most exciting new directors in the world of opera today, Moscow-born Dmitri Tcherniakov (best director, 2013 Opera Awards) will make his COC debut with another of his deeply considered, unconventional, and always honest productions that have produced some of the most inspired operatic performances ever witnessed. His intense rehearsal process plumbs the psychological possibilities of this work and the characters become part of one extended family, who are, in one way or another, brought into the web of the unforgettable title character, who is partly inspired by Marlon Brando’s performance in Last Tango in Paris. We’re presenting this new co-production of Don Giovanni in collaboration with Bolshoi Theatre of Russia, Teatro Real Madrid and Festival d'Aix-en-Provence, where, when it premiered in 2010, it was described by the Financial Times as “a thrillingly accomplished Don Giovanni that caught us off guard.”
January 24 – February 21, 2015 NEW COC CO-PRODUCTION with Festival d’Aix-en-Provence, Teatro Real Madrid and Bolshoi Theatre
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Main image: Russell Braun. Photo: Gary Mulcahey, 2013. Inset: Kerstin Avemo and Bo Skovhus in Don Giovanni (Festival d’Aix-en-Provence, 2010). Photo: Pascal Victor/Artcomart
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Canadian Opera Company 2013/2014 Season
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169
It takes a goddess to make a hero Director Atom Egoyan and designer Michael Levine breathe life into Wagner’s incredibly powerful drama that was part of the Ring Cycle which opened the Four Seasons Centre in 2006 to rave reviews, and is at once both monumental yet deeply intimate in subject matter. The second of four epic operas that make up Wagner’s enormous Ring Cycle explores the forbidden love between separated-at-birth siblings Siegmund and Sieglinde, whose union marks the beginning of the downfall of the gods. Die Walküre charts their treacherous journey alongside Wotan, ruler of the gods, and Brünnhilde, the mighty Valkyrie heroine who is caught between familial obedience and moral truth. Conductor Johannes Debus leads a star-studded cast, headed by Christine Goerke as the indomitable Brünnhilde, whose COC debut also marks a muchcoveted role debut. Clifton Forbis takes on the role of the fierce Siegmund. The ever-impressive full force of the COC Orchestra tackles Wagner’s colossal score that features some of the most impressive music ever conceived. This is a legend of heroes and gods, and forbidden love and revenge, and it sets the stage for the subsequent instalments of Wagner’s most magnificent artistic achievement.
DIE WALKÜRE RICHARD WAGNER
January 31 – February 22, 2015 COC PRODUCTION
JOIN US IN 2014/2015 Main image: Christine Goerke. Photo: Gary Mulcahey, 2013. Inset: Die Walküre (COC, 2006). Photo: Michael Cooper
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THE BARBER OF SEVILLE ROSSINI
Masters of comedy bring colour, whimsy and frenzied perfection to this Rossini romp The work of Spanish theatre troupe Els Comediants came to international prominence in 1992 with the spectacular fire ceremony they designed for the closing of the Barcelona Olympics. Since then they have continued pioneering live theatre of unbounded vitality, combining carnival and circus performance traditions with puppetry, dance, acrobatics and pantomime. With this new COC production of Rossini’s greatest comedy, the freewheeling Spaniards return to Toronto. Their Cubist-inspired sets toy with scale and proportion, while bursts of day-glo colour and innovative lighting conjure a fantasy world hovering between fairy-tale and hilarious vaudeville. Hitting all the high notes is an impressive cast of voices led by “dynamite performer” (Opera News) Joshua Hopkins, and “vocally flawless” (Munich Merkur) Met tenor Alek Shrader. Rossini’s score is a veritable hit parade, with showstoppers and sparkling tunes aplenty, while the creative magic on stage reminds us how much sheer fun can be had at the opera – a confection the entire family can enjoy. April 17 – May 22, 2015 NEW COC CO-PRODUCTION with Houston Grand Opera, Opéra National de Bordeaux and Opera Australia
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Main image: Christine Goerke. Photo: Gary Mulcahey, 2013. Inset: The Barber of Seville (Houston Grand Opera, 2011). Photo: Felix Sanchez
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Canadian Opera Company 2013/2014 Season
Mystery. Murder. Madness. Robert Lepage’s ground-breaking production of Bartók’s Bluebeard’s Castle and Schoenberg’s Erwartung astounded Toronto audiences at its 1993 premiere, establishing the COC as one of the world’s most visionary and compelling opera companies. Lepage’s spectacular and surprising integration of movement, light and theatrical slight-of-hand subsequently garnered world-wide acclaim in New York, Edinburgh, Melbourne and Hong Kong.
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These two revolutionary early 20th-century scores now return home to Toronto where their stunning sonic and visual effects will be experienced for the first time in the acoustic splendour of the Four Seasons Centre for the Performing Arts. Superstar Canadian bass John Relyea (The Tales of Hoffmann, 2012) sings the strangely alluring Duke Bluebeard who inhabits a dark, mysterious castle whose secrets he does not want revealed. Powerhouse Russian mezzo-soprano Ekaterina Gubanova (Don Quichotte, 2014) portrays his fatally curious new wife, Judit. Schoenberg’s monodrama about a woman spiraling into madness stars Canadian mezzo-soprano Krisztina Szabó (Love From Afar, 2012). COC Music Director Johannes Debus conducts the extraordinary COC Orchestra.
BLUEBEARD’S CASTLE/ ERWARTUNG BARTÓK/SCHOENBERG May 6 – 23, 2015 COC PRODUCTION
JOIN US IN 2014/2015 Main image: John Relyea. Photo: Gary Mulcahey, 2013. Inset: Peter Fried and Sara Fulgoni in Bluebeard’s Castle (COC, 2001). Photo: Michael Cooper
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PATRON INFORMATION AND POLICIES Etiquette Patrons are reminded that R. Fraser Elliott Hall is an extremely lively auditorium and that all audience noise will be accentuated and audible to other patrons. Turn off all electronic devices, avoid talking, coughing, humming, moving loose seats, kicking the backs of seats, rustling programs, and unwrapping candies or cough drops. In consideration of patrons with allergies please avoid wearing strongly perfumed beauty products and fragrances. Please remain in your seat until the performance has completely ended and the house lights have been turned on. Electronic Devices The use of mobile and smartphones and all other electronic devices is extremely disruptive and is strictly prohibited during performances. If a patron has an emergency and needs to be contacted during a performance, he or she should contact Patron Services for assistance before the performance. Cameras/Recording Devices The use of cameras, video cameras or sound-recording devices of any kind is prohibited in R. Fraser Elliott Hall during performances. Any person using an unauthorized recording device while the performance is in progress will be required to surrender or erase any recordings, photographic or digital images and may be asked to leave. No refunds will be issued. Latecomers In the interest of safety and for the comfort of all patrons and performers, latecomers may not enter the auditorium or be seated unless there is a suitable break in the performance (usually intermission). Patrons leaving the auditorium during the performance or returning late after intermission may not be readmitted or may be accommodated in an alternate viewing location. Children and Babes-in-Arms All patrons, including children, must have a ticket for the performance. All children must be seated next to an accompanying adult. Young children should be able to sit quietly throughout the performance. If unable to do so, children and their accompanying adult will be asked to leave the auditorium. Babes-in-arms will not be admitted. Patron Services Located in the Lower Lobby, the following services are available: coat and parcel check, booster seats, back supports, infrared hearing-assistive devices and rental of binoculars, on a first-come, first-served basis. Medical Emergencies and First Aid A house doctor is present at all performances. Please contact an usher if medical services are required. Lost and Found During performances please speak with an usher or visit Patron Services at the Coat Check in the Lower Lobby. Following performances, all lost and found items will be stored at the security desk at Stage Door. Please call 416-363-6671 for information.
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Canadian Opera Company 2013/2014 Season
Ticket Services Canadian Opera Company subscriptions and individual tickets are available through COC Ticket Services ONLINE: coc.ca BY PHONE: 416-363-8231 or long distance 1-800-250-4653 Monday to Friday – 10 a.m. to 6 p.m. Saturday – 10 a.m. to 4 p.m. IN PERSON: Four Seasons Centre Box Office 145 Queen St. W. Monday to Saturday – 11 a.m. to 6 p.m. or through first intermission Sunday (performance days only) – 11 a.m. to 3 p.m. or through first intermission The Four Seasons Centre for the Performing Arts Box Office also services ticketing needs for The National Ballet of Canada and all other Four Seasons Centre events. Group Sales Groups of 10 or more enjoy savings on regular individual ticket prices. For more information or to reserve seats call 416-306-2356. Parking There is parking on a first-come, first-served basis for about 200 vehicles underneath the Four Seasons Centre. The entrance is located on the west side of York Street, south of Queen Street. Additional parking is conveniently located just steps away in the Green P lot underneath Nathan Phillips Square. For directions visit greenp.com. Four Seasons Centre Facility Tours Tours of the Four Seasons Centre now include backstage access! For more information, visit fourseasonscentre.ca. BMO Financial Group Pre-Performance Opera Chats The Canadian Opera Company Volunteer Speakers Bureau offers free, insightful chats about the stories, music and background of all COC performances, 45 minutes prior to each performance in the Richard Bradshaw Amphitheatre. Food and Beverage Service A pre-order system for intermission refreshments is available at all bars throughout the Isadore and Rosalie Sharp City Room. Food and beverages are not permitted in R. Fraser Elliott Hall. Special Events and Catering The Four Seasons Centre is available for rental for all of your presentation, meeting or special events needs, with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit fourseasonscentre.ca or call 416-363-6671. The Opera Shop Located on the orchestra level of the Isadore and Rosalie Sharpe City Room, the COC's Opera Shop offers a fine selection of opera recordings on CD and DVD, as well as opera-related books, giftware and COC souvenirs.
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euphoria Calvin Klein is proud to be the Preferred Fragrance of the Canadian Opera Company calvinkleinbeauty.com