Semele House Progra by Canadian Opera Company

C A N A D I A N O P E R A C O M PA N Y Spring 2012

Performance Semele

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CONTENTS 4

EVIL UNDER THE SUN A FLORENTINE DOUBLE BILL BY GAVIN PLUMLEY

FANTASY AND HUMANITY JOHANNES DEBUS DISCUSSES THE TALES OF HOFFMANN BY SUZANNE VANSTONE

SEMELE TRANSFORMATIONS BY ERIC DOMVILLE

C A N A D I A N O P E R A C O M PA N Y

Top: The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. A scene from Théâtre Royal de la Monnaie, 2009. Photo: Karl Forster

Spring 2012

Performance

Bottom: The COC presents The Tales of Hoffmann. Stephanie Houtzeel as Nicklausse (Vlaamse Opera, 2000). Photo: Kurt Van der Elst

n CANADIAN OPERA COMPANY EDITORS: Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative 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, David Thom, Heather Thom n ART DIRECTOR /DESIGN: Jan Haringa n GRAPHIC ARTIST: Glenda Moniz n Cover images: The Tales of Hoffmann – The COC presents The Tales of Hoffmann. Gerard Powers as Hoffmann (Vlaamse Opera, 2000). Photo: Kurt Van der Elst Semele – The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. A scene from Théâtre Royal de la Monnaie, 2009. Photo: Karl Forster A Florentine Tragedy/Gianni Schicchi – Preliminary sketch of Bianca in A Florentine Tragedy by costume designer, Terese Wadden. Canadian Opera Company’s edition of Performance magazine is published quarterly by RJ Performance Media Inc., 2724 Coventry Road, Oakville, Ontario, L6H 6R1. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright © Performance Inc. Subscriptions available by contacting publisher. Direct all advertising enquiries to 2724 Coventry Road, Oakville, Ontario, L6H 6R1 or phone 905-829-3900, Ext. 222.

Catch up with blogs and enjoy COC Radio at coc.ca.

EVIL UNDER THE SUN A FLORENTINE DOUBLE BILL BY GAVIN PLUMLEY

he final pages of Puccini’s Gianni Schicchi are like a new dawn. Buoso Donati’s property has been transferred to its “rightful” owners and Lauretta and Rinuccio gaze out over Florence. The city “in the distance seemed to us like paradise!” they sing, as the orchestra celebrates their newfound freedom. They are not the only people to have fallen under Florence’s spell. From the pomp of the grand tour to the masses under the feet of Michelangelo’s David today, Florence has captivated generations. However E. M. Forster, perhaps the most outspoken fan of the Tuscan capital, knew that any city filled with 4

Canadian Opera Company 2011/2012 Season

Preliminary set maquette for A Florentine Tragedy by set designer Wilson Chin.

statues of abduction and beheading was not totally without fault. Florence may be a dream to some, but its violent history proved a nightmare for others. In his Italian novels, Forster invites us to dig beneath that terracotta-clad surface. And it is that sadistic underbelly that runs through Oscar Wilde’s A Florentine Tragedy, which Alexander Zemlinsky set to music in 1917, the same year that Puccini began Gianni Schicchi. Compared with Europe’s cold and emotionally frigid north, the baking Tuscan sun provides a Dionysian break from normality. In his first Italian novel,

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EVIL UNDER THE SUN A Florentine Double Bill

Where Angels Fear to Tread, E. M. Forster celebrates that shift in temperament and temperature. “They travelled for 13 hours downhill, whilst the streams broadened and the mountains shrank, and the vegetation changed, and the people ceased being ugly and drinking beer, and began instead to drink wine and to be beautiful. And the train which had picked them at sunrise out of a waste of glaciers and hotels was waltzing them at sunset round the walls of Verona.” It was an expedition that Forster would repeat in A Room with a View. The culturally curious Lucy Honeychurch spends a day visiting the sites of central Florence – the Duomo, the church of Santa Croce and the vast Piazza della Signoria. But Forster interrupts her reverie with a sudden and brutal murder. Her idyll has been spoiled and the truly violent nature of the Italians exposed. Gazing up at the Palazzo Vecchio’s lofty tower, she feels it has lost “the reflection of the declining day, and joined itself to earth.” Everything beautiful has baser connotations. In writing his novels, Forster tapped into an august heritage of Florence’s splendour and sadism. In 1875, Oscar Wilde visited the city, wowed by the view from the monastery at San Miniato al Monte. But he remained acute to the cloud that lurks beyond such impressive silver linings. Although he never completed A Florentine Tragedy, his play remains a brilliant distillation of that paradise lost. Like the flash of violence that interrupts Lucy Honeychurch’s pilgrimage, Wilde’s fragmentary text provided a snapshot of the dangers of lust and sexual jealousy in otherwise stunning surroundings. Its stock characters – an impulsive wife, a young 6

Canadian Opera Company 2011/2012 Season

Preliminary sketch of Bianca in A Florentine Tragedy by costume designer, Terese Wadden.

aesthete and a thoroughly average merchant – offer straightforward dramatic parameters. But they provide the springboard to great drama and, in the hands of the Viennese composer Alexander Zemlinsky, a virtuosic new opera. Zemlinsky was one of the leading talents within the Central European fin de siècle. He had taught Arnold Schoenberg, who later became his brother-in-law, and had been the lover of Alma Mahler (wife of composer Gustav Mahler). But he was a highly talented conductor and composer in his own right. Born in 1871, he died near New York in 1942. His life bridged a dizzying period in world history. Born into an empire that didn’t exist by the end of his life, Zemlinsky witnessed seismic shifts in politics, society and culture. An early fascination with lieder (German art song), brought him in direct touch with

EVIL UNDER THE SUN A Florentine Double Bill

the brute sexual honesty of literary Vienna. Provoked by Freud’s investigations into the human consciousness, the psychosexual frankness of contemporary poetry and prose provided the creative blueprint for the city’s avant garde. Zemlinsky’s proximity to Schoenberg and Mahler encouraged a complementary and increasingly heady musical vocabulary. His one-act opera A Florentine Tragedy (1917) – written while working in Prague – shows strong affinities with these intellectual and musical flavours, but Zemlinsky’s own experience in matters of the heart gave the work its unprecedented force. For Zemlinsky, Wilde’s story of evil under the sun provided a neat allegory. His sister Mathilde was married to Schoenberg, but she had a disastrous affair with the modernist painter Richard Gerstl. Mathilde eventually returned to Schoenberg and the couple were happily reunited, but Gerstl couldn’t stand the separation and killed himself.

Preliminary sketch of Zita in Gianni Schicchi by costume designer, Terese Wadden.

Canadian Opera Company 2011/2012 Season

Zemlinsky’s confrontation with Alma Mahler, whose rejection of him in favour of Mahler was still raw after a decade – and stoked further by her affair with Walter Gropius shortly before Mahler’s death – provided a further catalyst to Zemlinsky’s fevered new opera. Mixing the violence of Wilde’s Florence with personal experience, Zemlinsky does not relent from the very first bars of the overture to Simone and Bianca’s erotic reconciliation. Taking his lead from Richard Strauss’s own Wildean tragedy Salome, Zemlinsky created a brutal and taut tone poem for the stage. Like Salome, Zemlinsky reveals his characters’ fatal flaw during the very last bars, when the musical meaning of central motifs and themes finally becomes clear. Having killed her lover, Simone asks Bianca, “Why did you not tell me you were so beautiful?” It is that obsession with surface beauty that ignores and then provokes a tragedy of horrendous power. It is only natural that the story unfolds in Florence, where beauty is prized but violence lurks beneath. That dichotomy was highly familiar to the Tuscan-born Puccini. He had shown himself particularly adept at portraying love and loathing side by side in his 1900 masterpiece Tosca. And, having composed Il Tabarro, another violent tragedy, for the opening section of his Il Trittico – a three-part evening premiered at the Metropolitan Opera in 1918 – Puccini chose black humour for the final panel of the triptych. Originally, Puccini had conceived the evening in two parts. He wanted a tragedy and a comedy, leaving out Suor Angelica. But for those who know Puccini’s other operas, comedy isn’t his immediate natural strength. There are certainly jovial passages in La Bohème for certain and the toddling Sacristan in Tosca provides amusement, but nothing really makes us laugh out loud. Nevertheless,

beautiful

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EVIL UNDER THE SUN A Florentine Double Bill

Puccini wanted to pay homage to the great Italian comedies of the past and so Gianni Schicchi provided the amuse bouche after a particularly pungent entrée. Based on a passage from Dante’s Inferno, Puccini’s Florentine librettist Giovacchino Forzano created a highly amusing farce. Buoso Donati is one of the richest men in Tuscany and his relatives stand around his deathbed ready to pounce on their inheritance. Motivically sparse like Zemlinsky, Puccini moves swiftly from one plot point to the next. It is only very rarely that he pauses to lavish his considerable melodic gift on the characters. One such moment

Preliminary sketch of Rinuccio in Gianni Schicchi by costume designer, Terese Wadden.

is the show stopping “O mio babbino caro.” Although now associated with James Ivory’s 1985 film version of A Room with a View, it is a deeply ironic aria. Lauretta may plead to her wily and witty father in an expressive fashion, but she is using that natural sincerity to win him round. Rinuccio, who wishes to wed Lauretta, is associated with the conspiratorial characters by relation, but his own candour and honesty are underlined in Puccini’s charming music. When he sings “Florence is like a tree in flower,” you cannot help but be won over. Despite the negativity around them, Puccini’s lovers provide a fitting antidote to Zemlinsky’s vicious twosome. Gianni Schicchi sees in Rinuccio a reliable heir and, over the course of the opera, the pithy motifs of embittered false mourners give way to the lovers’ glorious finale. Out of the waste of Zemlinsky’s bitter tragedy and the greed of Buoso Donati’s relatives comes a new happier era. Lauretta and Rinuccio have not been jaded by the passage of time and money. Just as Lucy Honeychurch wanders around the Piazza della Signoria blind to the violence of the Rape of the Sabine Women and Cellini’s Perseus holding Medusa’s severed head – still on view in the neighbouring Loggia dei Lanzi today – Puccini’s happy pair sees only a heavenly apparition. Through the violence of Zemlinsky’s lovers and the caustic humour of Puccini’s opera, we know that there is a darker side to paradise. n Gavin Plumley is a London-based writer, broadcaster and musicologist who specializes in the culture of the 19th and 20th centuries. You can read more of his work on his blog entartetemusik.blogspot.com.

FOR FURTHER INSIGHTS INTO A FLORENTINE TRAGEDY/GIANNI SCHICCHI, PLEASE SEE GIANMARCO SEGATO’S INTERVIEW WITH CATHERINE MALFITANO, “BORN INTO THE RIGHT TRUNK,” AS WELL AS JON KAPLAN’S INTERVIEW WITH ALAN HELD, “A DOUBLE BILL OF SUN AND SHADOW,” IN THE SPRING ISSUE OF PRELUDE AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

Canadian Opera Company 2011/2012 Season

FANTASY AND HUMANITY JOHANNES DEBUS DISCUSSES THE TALES OF HOFFMANN

COC Music Director Johannes Debus. Photo: Rider Dyce

BY SUZANNE VANSTONE

or COC Music Director Johannes Debus, the joys of conducting are two-fold – conducting that which you know and is familiar to you, and conducting that which is new and introduces you to another work. This spring, he takes to the podium with Jacques Offenbach’s fantastical opera, The Tales of Hoffmann. After his recent inaugural experience conducting Saariaho’s acclaimed Love from Afar, he looks forward to adding another new work to his repertoire. “And,” as he says, “that’s always exciting. I’m curious! I want to explore new things. “One of the first challenges to negotiate is that there is no final version 12

Canadian Opera Company 2011/2012 Season

of Hoffmann. Offenbach died before the opera was finished so you deal with many questions and no real answers,” he laughs. “And that makes it difficult for everybody – especially for Wayne [Vogan], our poor librarian! He is invaluable. Wayne joked to me, ‘I tried to retire before we did a Hoffmann!’ In the end we have to find and make our own version which does the piece justice. “Another challenge is to find the right stylistic approach. Initially Offenbach wrote opéra comique which included dialogue – different themes and different ways to conceive a drama. With Hoffmann he wanted to write his grand opéra. But

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FANTASY AND HUMANITY Johannes Debus Discusses The Tales of Hoffmann

Right: The COC presents The Tales of Hoffmann. Stephanie Houtzeel as Nicklausse, Vlaamse Opera, 2000. Photo: Kurt van der Elst

Opposite page: A scene from the Vlaamse Opera production, 2000. Photo: Kurt van der Elst

I’m not a hundred percent sure if that happened. First of all, there are so many elements which I would imagine as being part of opéra comique. Secondly, where are the heroes? Hoffmann is a hero, but maybe more of an anti-hero? It’s a hard opera to categorize and to find the exact way to play. There must be a certain lightness, and in other moments there must be something luxurious in the sound. “The recitative is another big question. There is a version with dialogue, meant for the performance at the Opéra-Comique theatre, but poor Offenbach never had the chance to hear or finish the work, so we don’t know what his final opinion was. 14

Canadian Opera Company 2011/2012 Season

His pupil Guiraud, later made a recitativo version and put in some chords to fill the gaps – which is what we have in our version – and the orchestra accompanies the recitatives giving it a wonderful fullness.” Debus talks about the immediate familiarity of the music, most often exemplified with the frequent use of couplets. “All couplets somehow have the sense of ‘you hear it once, you already know the tune.’ I’m sure during Offenbach’s time people who heard his opera would immediately hum the tunes upon leaving the theatre! The musical structure – the tunes in these couplets – is so well-defined

that it triggers your memory. Nowadays people hear popular music and they know right away if it’s a good song. What happened when the Beatles started to take off? Why did they become so popular? Because everybody could sing their music!” Debus notes that there is a large element of parody and caricature in the piece. It is a work full of double entendres and often pokes fun at some of the composers of the day. “Sometimes it appears he’s making fun of Wagner or Gounod, and at other times he is mocking the evil characters in opera, or the heroic figures. When I saw it for the first time, I remember feeling that it was a clear counter, or anti-concept, to the megalomaniac concept of Richard Wagner and his view on mankind. It couldn’t Catch up with blogs and enjoy COC Radio at coc.ca.

be more opposite. But,” he adds, “I need both Wagner and Offenbach in my life! I’m glad that Offenbach had these extraordinary visions. He was called the Mozart des Champs-Élysées, because he has a Mozart quality that empathizes with the human soul and human being.” Debus knows we have the best performers to sing this wonderful music. “Hoffmann is one of the longest roles in operatic repertoire.” An extremely demanding role, Hoffmann “is a kind of lost soul, yet he is able to fantasize in such a marvellous way. And this is what makes this piece so popular; it’s an element that people can connect with. I know Russell [Thomas], and he’s a great colleague, very fun to work with. David Pomeroy, John Relyea, all the marvellous women – Andriana 15

FANTASY AND HUMANITY Johannes Debus Discusses The Tales of Hoffmann

Chuchman, Erin Wall, Keri Alkema, Lauren Segal – we have a wonderful cast! Every role must be cast with a great voice, and an intelligent singer. “It’s important that as a singer you have the capacity for self-irony. You can’t take yourself too seriously in the role. The French, in general, have this kind of quality. And in terms of Offenbach, he comes from a wonderful mixed background with many influences. He was a German-born French composer and the son of a synagogue cantor. I think there is an element of Jewish humour in this – an element of laughing at yourself. Yet within this humour there is also so much wisdom and dignity – so much love of life. That’s why this piece

speaks to an audience, and why they feel comfortable with it. Even if we are in a fantasy world, it always has a huge human element. “And that’s the great art you have to achieve. You must take it seriously, as the singer, and also as the conductor – but with a dash of clin d’oeil (a wink). You have these witty double entendres yet when you venture behind them, there is a lot to discover. What was it Woody Allen said? ‘Life is full of misery, loneliness, and suffering – and it’s all over much too soon!’” n Suzanne Vanstone is Senior Communications Manager, Editorial at the Canadian Opera Company.

FOR FURTHER INSIGHTS INTO THE TALES OF HOFFMANN, PLEASE SEE SUZANNE VANSTONE’S INTERVIEW WITH JOHN RELYEA, “FOUR VILLAINS, FOUR SIGNATURES,” IN THE SPRING ISSUE OF PRELUDE AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

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Canadian Opera Company 2011/2012 Season

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AleXAnder neef, General director

SEMELE by George Frideric Handel Opera in Three Acts, libretto by William Congreve first performance: royal Opera House Covent Garden, london, february 10, 1744 Co-production of Théâtre royal de la Monnaie, Brussels and KT Wong foundation COC Premiere May 9, 11, 13, 16, 19, 22, 24, 26, 2012 Sung in english with english SUrTITleSTM

THe CasT (in order of vocal appearance)

Cadmus, King of Thebes/Somnus, god of sleep Athamas, a Prince of Boeotia Semele, Cadmus’ daughter Ino, Cadmus’ daughter/Juno, Jupiter’s wife Iris, Juno’s messenger Jupiter, King of the gods Conductor: Director: Associate Director: Assistant Director: Set Designer: Costume Designer: Original Lighting Designer: Lighting Recreator: Chorus Master: Stage Manager: SURTITLESTM Producer:

Steven Humes Anthony Roth Costanzo Jane Archibald* Allyson McHardy^ Katherine Whyte William Burden Rinaldo Alessandrini Zhang Huan Su Jie Allison Grant Zhang Huan Han Feng Wolfgang Göbbel Willem Laarman Sandra Horst Jenifer Kowal Gunta Dreifelds

Performance time is approximately three hours, with one 25-minute intermission.

Production sponsor:

* Ms archibald’s performance is generously sponsored by Paul Bernards. ^ Graduate of the COC ensemble Studio

This production of Semele is being recorded for future broadcast on CBC radio Two (94.1 fM in Toronto) on Saturday Afternoon at the Opera. Original sets and costumes built by the workshops of Théâtre royal de la Monnaie, Brussels. Program information is correct at time of printing. All casting is subject to change.

Please visit coc.ca for additional information

AleXAnder neef, General director

ensemble studio Performance May 23, 2012 Sung in english with english SUrTITleSTM

THe CasT (in order of vocal appearance)

Philippe Sly* Ryan Belongie Mireille Asselin** (Acts I and II) Ambur Braid (Act III) Rihab Chaieb*** Jacqueline Woodley Christopher Enns Rinaldo Alessandrini Zhang Huan Su Jie Allison Grant Zhang Huan Han Feng Wolfgang Göbbel Willem Laarman Sandra Horst Jenifer Kowal Gunta Dreifelds

Performance time is approximately three hours with one 25-minute intermission.

Production sponsor:

This ensemble studio performance of semele has been generously underwritten in part by Wendy J. Thompson and the late samuel a. Rea. This evening’s performance is sponsored by aRIas. * Mr. sly’s performance is generously sponsored by Peter and Hélène Hunt. ** Ms asselin’s performance is generously sponsored by Marcia Lewis Brown. *** Ms Chaieb’s performance is generously sponsored by Kathy schäfer. Original sets and costumes built by the workshops of Théâtre royal de la Monnaie, Brussels. The COC ensemble Studio is Canada’s premier training program for young opera professionals and provides advanced instruction, hands-on experience, and career development opportunities. The ensemble Studio is generously supported by the Government of Canada through the department of Canadian Heritage, ArIAS (formerly The Canadian Opera Volunteer Committee), In loving memory of Mr. George r. Bishop, from his family & friends, Marcia lewis Brown, The John A. Cook Young Artist development fund, In honour of earlaine Collins, In honour of ninalee Craig, estate of Horst dantz and don Quick, Catherine fauquier, david and Ann fund, ethel Harris, The Audrey S. Hellyer Charitable foundation, Peter & Hélène Hunt, Patrick & Barbara Keenan, The Hal Jackman fund at the Ontario Arts foundation, Jo lander, ruby Mercer fund, George Cedric Metcalf Charitable foundation, roger d. Moore ensemble Studio endowment fund, Sue Mortimer, rBC foundation, Katalin Schäfer, In honour of Colleen Sexsmith, The Slaight family, the Stratton Trust, William & Phyllis Waters, and an anonymous donor. Program information is correct at time of printing. All casting is subject to change.

Canadian Opera Company 2011/2012 Season

Opera at its finest RBC is proud to sponsor the Canadian Opera Companyâ&#x20AC;&#x2122;s production of George Frideric Handelâ&#x20AC;&#x2122;s Semele

DIRECTOR’S NOTES

irecting a film, or designing a piece of architecture or the set for a stage production would seem to be a smooth and natural composition for an artist, but to ask an artist to design the set for an opera is a different story altogether, quite extraordinary indeed. The reason is simple: there are very few people who understand opera, and even fewer artists who understand it. In all honesty, I too do not understand opera, but I like doing things out of the ordinary. That is why I have continued to make art to this day. Frankly speaking, I never imagined I would have the chance to be director and set designer for a Western opera, particularly because the original opera was so foreign and distant to me. Even though I have done performance art for many years, it is a completely different category of performance. Looking back on my predestined affinity with theatre, at times it may seem absurd but all at once it is still part of my destiny. My roots in theatre date back to the early 1990s in Beijing, those days when I struggled for art and for my very existence. There was one time when I worked on the production of Three Sisters for the great Chinese theatrical director Lin Zhaohua. Yi Liming was set and lighting designer and I was his temporary assistant. At that time, I wasn’t a designer – I didn’t even do set painting. I was a temporary worker with an interest in and curiosity about theatre, who needed to make a living. I was responsible for the stage irrigation system. I also worked on the set of Chen Shizheng’s Kunming Opera Peony Pavilion. Even though at that time I was nobody and understood nothing, the magic of the stage was definitely clear to me and it stirred me. Later, after I moved to New York, I received an invitation from Robert Wilson to contribute to one his experimental works. 4

Canadian Opera Company 2011/2012 Season

I think it was these dim, sleepy experiences in theatre, and many years of practice as a performance and visual artist that just might have given me the guts today to stand on the stage and show people what I know about opera, what I know about the story of Semele. These years of working in the theatre have been a creative experience I will never forget. I have deeply felt how authentic and gorgeous opera is. It is all so real and slowly unfolds right before your eyes. At the same time, it is so unpredictable and so unimaginably peculiar. Even if you are the director, you still can’t completely control it, just as in the opera when Jupiter is unable to save Semele. And just as Jesus could not save the temple dweller, Mr. Fang. That is theatre; that is life. Mr. Fang lived in this ancestral temple with his family in Quzhou, at the border region between the Zhejiang and Annhui provinces in China. When we were dismantling the structure, we collected the personal items that Mr. Fang and his family had left behind; among these articles was a diary written by the late Mr. Fang before he was executed for murdering his wife’s lover. A majority of this diary is written about his love and hate for his wife, and his sense of responsibility and helplessness towards his family. After reading through this diary, I suddenly came upon an inspiration for the main set of Semele. I am someone who has never designed a set before. I know that all of the sets and props are fake. This seems to be the natural and obvious way to do things on stage. But I am certain that the feelings elicited by a performer singing on the Great Wall and one singing in front of an artificial background of the Great Wall would be

dIreCTOr’S nOTeS

worlds apart. This time around, I am very excited to have the luck and opportunity to be able to take an ancestral family temple with over 450 years of history and use it on the stage of a new opera house. My goal is to allow the opera singers to reenact this classical Western opera on an Eastern stage latent with the tragic emotions of Semele – while at the same time allowing the audience to experience the dramatic beauty and pain common to all human beings. Love and hate, life and death are the topics that will forever hang over the human race. The fact that the roots of pain introduced thousands of years ago in a Western opera can reappear in the East in the fate of a single peasant family in the countryside, makes us continually ponder the redemptive qualities of humanity.

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So this old temple is the chapel where Semele is to get married, the heaven where she creates love, the crematory where she is destroyed, and the holy land that she is reborn in. She is the homeland where human kind has suffered the four great miseries of birth, aging, sickness and death. “Yin” and “guo” (cause and effect), desire and animalism are the central problems in Semele. Because man himself is a monster, god is also a monster. Humanity also contains an animalistic aspect, an inner beast. Desire, lust, and the thirst to control and possess are things that we cannot change. The human race has to continuously and eternally develop as it regresses. Moving in circles, we return to a primitive state. Zhang Huan

SYNOPSIS ACT I In the temple of Juno, Cadmus, King of Thebes, prepares for the marriage of his daughter Semele to Prince Athamas. Semele has been inventing obstacles to the marriage, troubled by her secret love for Jupiter. She calls to him to help her. Jupiter honours Semele’s cries for help and sends thunderbolts to indicate his displeasure with her impending marriage. Terrified, everyone leaves the temple. Semele’s sister Ino tries to comfort Athamas, revealing that she herself loves him. In the midst of this confusion, Cadmus enters to describe the scene that has just occurred: Semele has been whisked away by a giant eagle, which the priests identify as Jupiter. As the act ends, Semele is seen enjoying her new role as Jupiter’s mistress. ACT II Juno is furious when she discovers that her husband Jupiter has built a new well-guarded palace for Semele. She swears vengeance on Semele, and decides to enlist the help of Somnus, the god of sleep, to help her defeat her rival. As Semele awakes in the castle, Jupiter arrives and reassures her of his love. He detects from her words that she has dangerous ambitions of immortality. Not wanting to address the fact that she will never gain immortality, he diverts her attention by transforming the palace into an Arcadian grove. Ino is summoned from earth to keep her sister company.

INTERMISSION

Canadian Opera Company 2011/2012 Season

ACT III Juno and Iris rouse Somnus from slumber. Juno orders him to give Jupiter a dream that will enflame him with such a passion for Semele that he will do whatever she asks. Next, Juno presents herself to Semele disguised as Ino and gives her a magic mirror, which, when she looks into it, makes Semele fall in love with her own reflection. Juno tells her that the only way she can gain immortality is to make love to Jupiter in all of his godly splendour instead of his mortal disguise. Semele agrees. Jupiter returns enflamed with passion for Semele but she spurns his advances until he agrees to give her whatever she wants. He rashly agrees to Semele’s conditions but is aghast at her request that he appear in his god-like form. He desperately warns her of the danger she will face, knowing it will be the cause of her death. Juno exults in her victory as Semele is burned by the flames of the god’s power.* Ino returns to Thebes and relates the story of Semele’s death and describes a dream in which Jupiter reveals his wish for her to marry Athamas. Apollo predicts that a phoenix shall rise from Semele’s ashes, a god more mighty even than Love – Bacchus, god of wine. Everyone celebrates this fortunate outcome. *Zhang consciously omits Handel’s final joyous chorus from the performance, leaving the singers to lament Semele’s death while her ashes are swept away. The ending is in keeping with the Buddhist ideals of the impermanence of all things. And, yet, conclusions are never definite and the cycle of life continues when the final chorus echoes throughout the theatre as the audience exits.

MusIC sTaFF

Jenna Douglas (Ensemble Studio Intern Coach) Stephen B. Hargreaves (Head Coach) Anne Larlee assIsTanT ConduCToR

Stephen B. Hargreaves assIsTanT dIReCToR

Allison Grant assIsTanT To aLLIson GRanT

Paul Cegys assIsTanT sTaGe ManaGeRs

Joanna Barrotta Gerry Egan assIsTanT LIGHTInG desIGneRs

Jason Golinsky Wendy Greenwood Jason Hand aPPRenTICe sTaGe ManaGeR

Maureen Callaghan danCeRs

Shelley Kenney Ethan Lafleur TIBeTan sInGeR

Amchok Gompo Dhondup undeRsTudIes

Cadmus/Somnus Athamas Semele Ino/Juno Iris Jupiter

Philippe Sly Ryan Belongie Mireille Asselin/Ambur Braid Rihab Chaieb Jacqueline Woodley Christopher Enns

ARTISTS’ BIOGRAPHIES JANE ARCHIBALD semele (M)

A native of Nova Scotia, soprano Jane Archibald made her COC debut in 2011 as Zerbinetta in Ariadne auf Naxos. Recent and upcoming engagements include Lucia with Deutsche Oper Berlin and Opernhaus Zürich; Konstanze and Zerbinetta with Bayerische Staatsoper; Zerbinetta, Cleopatra and Olympia with Opéra national de Paris; Sophie in Der Rosenkavalier with Teatro alla Scala; Zerbinetta with Royal Opera House Covent Garden and Festspiele Baden-Baden; Konstanze with Opernhaus Zürich; and, a return to the Metropolitan Opera. Concert appearances include Messiaen’s Poèmes pour Mi with the Berlin Philharmonic and Brahms’ Ein deutsches Requiem with the San Francisco Symphony. Her CD of Haydn arias, released in 2011 on the ATMA label, just won a JUNO Award. MIREILLE ASSELIN semele (e)

Canadian soprano Mireille Asselin, a COC Ensemble Studio member, recently appeared with the COC as Countess Ceprano in Rigoletto and the Second Priestess in Iphigenia in Tauris. Other credits include Galatea in Acis and Galatea and Servilia in La clemenza di Tito (Opera Atelier); the title role in Theodora (Bach Collegium San Diego); Adele in Die Fledermaus (Opera Hamilton); and, Pamina in the film Magic Flute Diaries. Last season she made her Carnegie Hall debut with Vaughan Williams’ Dona nobis pacem and returned in January as a guest recitalist. Next season with the COC, she performs the roles of Adele in Die Fledermaus and Servilia in La clemenza di Tito. Ms Asselin 8

Canadian Opera Company 2011/2012 Season

holds a master’s degree from Yale University. RYAN BELONGIE athamas (e)

American countertenor Ryan Belongie, an Adler Fellow at San Francisco Opera, is making his COC debut. Credits this season include Bernstein’s Chichester Psalms and Bach’s Cantata No. 170 Vergnügte Ruh with the Grant Park Symphony Orchestra (Pritzker Pavillion, Chicago), Handel’s Messiah with the Seattle Symphony Orchestra, as well as his debut with Lyric Opera of Chicago as the Magician in Rinaldo. Other roles include Oberon in A Midsummer Night’s Dream (Wolf Trap Opera), Arsemene in Xerxes (Berkeley Opera) and Didymus in Theodora (Opera Bergen). A two-time national semi-finalist in the Metropolitan Opera National Council Auditions, Mr. Belongie is a graduate of San Francisco Opera’s Merola Opera Program and the Vocal Honors Program at Northwestern University. AMBUR BRAID semele (e)

COC Ensemble Studio soprano Ambur Braid recently appeared with the company as Stella in The Tales of Hoffmann, a Greek Woman in Iphigenia in Tauris, Amore in Orfeo ed Euridice and the Queen of the Night in the Ensemble Studio performance of The Magic Flute. Other roles include Diana in Iphigénie en Tauride (Opera Atelier); and, Konstanze in Die Entführung aus dem Serail and the Queen of the Night (San Francisco Conservatory). Next season, Ms Braid will sing the role of Adele in the COC’s Die Fledermaus and the Queen of the Night with Opera Atelier.

ArTISTS’ BIOGrAPHIeS

WILLIAM BURDEN Jupiter (M)

Making his COC debut this season, American tenor William Burden appears in many of the world’s leading opera houses including Metropolitan Opera, San Francisco Opera (SFO), Lyric Opera of Chicago, Teatro alla Scala, Opéra national de Paris, and Glyndebourne Opera Festival. This season he returned to Seattle Opera in the title role of Orphée et Eurydice and appeared in two world premieres: Christopher Theofanidis’s Heart of a Soldier with SFO and Kevin Puts’ Silent Night for Minnesota Opera. Upcoming engagements include returns to the Met, Santa Fe Opera, Bayerische Staatsoper, Opera Company of Philadelphia, and SFO. RIHAB CHAIEB Ino/Juno (e)

Tunisian-born mezzosoprano Rihab Chaieb, a COC Ensemble Studio member, recently appeared with the COC as Tisbe in La Cenerentola, Second Secretary to Mao in Nixon in China, the Third Lady in the Ensemble Studio performance of The Magic Flute and the French Mother in Death in Venice. Ms Chaieb is a Grand Prize winner in the 2012 Ottawa Choral Society’s New Discoveries Auditions for Young Artists. This season with the COC, she appears as La Ciesca in Gianni Schicchi and also understudies roles in Iphigenia in Tauris, Rigoletto, Love from Afar and Semele. This summer Ms Chaieb performs in La Tragédie de Carmen with the Highland Opera Studio.

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ANTHONY ROTH COSTANZO athamas (M)

This season, American countertenor Anthony Roth Costanzo makes his COC debut and his debut with the Metropolitan Opera in Rodelinda and The Enchanted Island. He also recently made his debut with Boston Lyric Opera in Agrippina, Palm Beach Opera in Orfeo ed Euridice, Opera Company of Philadelphia in Phaedra and with the New York Philharmonic in Le Grand Macabre. Past engagements have included Tolomeo, Dido and Aeneas and Giulio Cesare with Glimmerglass Opera; and, A Midsummer Night’s Dream with Seattle Opera. He made his film debut in the Merchant Ivory production, A Soldier’s Daughter Never Cries. Mr. Costanzo graduated from Princeton University and received his masters of music at Manhattan School of Music. CHRISTOPHER ENNS Jupiter (e)

Manitoba tenor and COC Ensemble Studio member Christopher Enns also appears with the company this season as Nathanaël in The Tales of Hoffmann. Other COC credits include Scaramuccio in Ariadne auf Naxos, as well as an American/ Glass Maker/Strolling Player in Death in Venice, and Tamino in the Ensemble Studio performance of The Magic Flute. He holds a bachelor of vocal performance (University of Manitoba), and a diploma in operatic performance (UofT). Other credits include the title role in Candide, Ecclitico in Il mondo della luna and Gonzalve in L’heure espagnole (UofT’s Opera Division); Alfred in Die Fledermaus (Highlands Opera Studio); and, Gastone in La Traviata 9

ArTISTS’ BIOGrAPHIeS

(Saskatoon Opera). Next season, Mr. Enns will perform the role of Alfred in the COC’s Die Fledermaus. STEVEN HUMES Cadmus/somnus (M)

American bass Steven Humes makes his COC debut. Mr. Humes has appeared regularly on the international stage since 2003, having performed numerous roles including Sarastro, Fasolt, Ramfis, Rocco, Oroveso, Wurm, Gremin, and Il Commendatore. He has appeared with Bayerische Staatsoper, Teatro Real Madrid, Théâtre des Champs Elysées, Festspielhaus Baden-Baden, Bolshoi Theatre, Salzburg Festival, Hamburg State Opera, Los Angeles Opera, and Atlanta Opera. Future engagements include Fafner in the Ring Cycle with Bayerische Staatsoper and Grande Théâtre de Genève; Fafner in Das Rheingold in Monte Carlo; Daland in Der fliegende Holländer with Teatro Regio di Torino; Il Commendatore in Don Giovanni with Théâtre des Champs Elysées; and, Sarastro in Die Zauberflöte in Hamburg. ALLYSON MCHARDY Ino/Juno (M)

Mezzo-soprano Allyson McHardy is a graduate of the COC Ensemble Studio whose previous COC roles include Suzuki in Madama Butterfly and Olga in Eugene Onegin. Recent highlights include the title roles in Carmen in Victoria, La Cenerentola with Glyndebourne Opera Festival, and L’italiana in Algeri in Limoges and Aix-en-Provence. She has also sung roles in La clemenza di Tito and Amadis de Gaule in Paris; Hercules with Tafelmusik; and, Adalgisa in Norma in Warsaw. Next season includes performances with Opéra de Montréal, Michigan Opera Theatre, and appearances in Calgary, Edmonton, Halifax 10

Canadian Opera Company 2011/2012 Season

and Toronto. Ms McHardy’s recording of Caldara’s La Conversione di Clodoveo (ATMA) was nominated for a 2012 JUNO award. PHILIPPE SLY Cadmus/somnus (e)

Bass-baritone Philippe Sly, a COC Ensemble Studio member, last appeared with the company as a Scythian Man in Iphigenia in Tauris. This spring he also sings Hermann in The Tales of Hoffmann and Ser Amantio di Nicolao in Gianni Schicchi. A winner in the 2011 Metropolitan Opera’s National Council Auditions Competition, recent performances include Bartolo in Il barbiere di Siviglia (San Francisco Opera’s Merola Opera Program), and Marcello in La Bohème and Nick Shadow in The Rake’s Progress (McGill University). This season’s engagements include St. John Passion (Montreal Symphony Orchestra), and a concert with the Kuala Lumpur Philharmonic Orchestra. Next season, Mr. Sly makes his mainstage San Francisco Opera debut as Guglielmo in Così fan tutte. KATHERINE WHYTE Iris (M)

Canadian soprano Katherine Whyte made her COC debut earlier this season in the title role of Iphigenia in Tauris. Also this season, she was heard in Beethoven’s Ninth Symphony with the Arkansas Symphony Orchestra. In the 2010/2011 season, Ms Whyte sang Handel’s Messiah with the Houston Symphony Orchestra; Beethoven’s Ninth Symphony with the National Chorale; and, Pamina in Die Zauberflöte with Michigan Opera Theatre. During the 2009/2010 season, she made three important debuts: as Gilda in Jonathan Miller’s production of Rigoletto

At the Opera Shop this Spring... Tote this! This season we introduced the COC carry-all tote bag. Featuring a full COC-branded lining, two big pockets and leather handles, it’s big enough for shopping, picnics, overnight-ing and sturdy enough to carry several vocal scores. Featuring the exclusive “I HEART COC” keychain! $85 inc. tax.

Trunk shows Heather Campbell (silk scarves): Saturday, April 14 P. J. Bundy (jewellery): Saturday, April 21 Two A (jewellery): Sunday, May 6 and Saturday, May 12

This spring we recommend the following recordings from Universal Classics: The Tales of Hoffmann, Decca. L’Orchestre de la Suisse Romande, Richard Bonynge, conductor. Plácido Domingo, Joan Sutherland, Gabriel Bacquier. In the title role, the young Domingo leaves nothing to be desired, singing with such careful attention to detail that he makes Hoffmann come alive. The great loves of his life find a supreme interpreter in Joan Sutherland. $52.75 inc. tax. Il Trittico, Decca. Orchestra and Chorus of the Maggio Musicale Fiorentino, Bruno Bartoletti, conductor. Mirella Freni, Leo Nucci, Roberto Alagna. This sparkling version of Puccini’s comic Gianni Schicchi features Mirella Freni’s exquisite rendition of “O mio babbino caro.” Included are the other two operas which make up Il Trittico: Il Tabarro and Suor Angelica. $55 inc. tax. Semele, Decca. Orchestra la Scintilla, Ambrosian Opera Chorus, William Christie, conductor. Cecilia Bartoli, Charles Workman. Celebrated Canadian director Robert Carsen’s production from Zurich stars Cecilia Bartoli in the title role which suits her lithe, flexible voice like a glove. An irreverent take on Handel’s creation, famously labelled at its premiere as “no oratorio, but a bawdy opera!” $25.75 (DVD), $32.25 (Blu-ray) inc. tax.

Shop for much more at the Opera Shop or at coc.ca! 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.

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ArTISTS’ BIOGrAPHIeS

with English National Opera; Euridice in Atlanta Opera’s Orfeo ed Euridice; and, Iphis in Handel’s Jephtha with Opéra national de Bordeaux. Upcoming engagements include Mozart’s Mass in C minor with the Vancouver Symphony Orchestra and Messiah with the National Symphony Orchestra. JACQUELINE WOODLEY Iris (e)

Canadian soprano Jacqueline Woodley, a COC Ensemble Studio member, recently appeared with the COC as First Priestess in Iphigenia in Tauris and the Page in Rigoletto. Other COC roles include Papagena in the Ensemble Studio performance of The Magic Flute and the Lace Seller in Death in Venice. She recently premiered the role of Milica the Bride in SvadbaWedding with Queen of Puddings Music Theatre which will tour Europe and Canada next season. Ms Woodley holds a master’s degree from McGill University with additional training at the International Vocal Arts Institute in Tel Aviv and Montreal, and Opera NUOVA in Edmonton. She is a Grand Prize winner in the 2012 Ottawa Choral Society’s New Discoveries Auditions for Young Artists.

RINALDO ALESSANDRINI Conductor

Maestro Alessandrini is making his COC debut. Specializing in 17thand 18th-century Italian music, Rinaldo Alessandrini is a pianist, harpsichordist, conductor and founder of the ensemble Concerto Italiano. He is a frequent guest conductor of ensembles such as the Orchestra del Maggio Musicale Fiorentino, the Orquesta Ciudad de 12

Canadian Opera Company 2011/2012 Season

Granada, the Detroit Symphony Orchestra, the Scottish Chamber Orchestra, the Northern Sinfonia, the Orchestra of the Age of Enlightenment, the Boston Handel and Haydn Society, and the Freiburger Barockorchester. In January 2007, Mr. Alessandrini was appointed principal guest conductor of Den Norske Opera where he has conducted Giulio Cesare, La clemenza di Tito and Orfeo. Awards for his recordings include the Grand Prix du Disque as well as three Gramophone Awards with Concerto Italiano. ZHANG HUAN director and set designer

Making his COC debut, internationally-renowned artist Zhang Huan was born in Anyang, Henan Province in 1965 and currently works and lives in Shanghai. In 1998, he relocated to New York to practice art full-time, and became involved in a wide variety of artistic media. In 2005, he returned to Shanghai and established Zhang Huan Studio, where he created new forms in art history such as ash painting, sculpting in ox-hide, door carvings, and feather woodcuts. In 2005, Zhang Huan and his wife organized the Gao’an Foundation, and established “hope elementary schools” in impoverished areas of western China, and have also provided scholarships and study grants to ten major universities in China. SU JIE associate director

A versatile artist, Su Jie works in a variety of fields of art and is making his COC debut. He was chief choreographer of the dance dramas The Crescent Moon at Midnight and Charm of Manchu, both of which won the Wenhua Choreographer Prize. He directed The Road of

ArTISTS’ BIOGrAPHIeS

Consciousness, which celebrated the opening ceremony of the second World Buddhism seminar, and also directed the drama The Monkey King. Su Jie was chief executive director for the Brussels premiere of Semele at Théâtre Royal de la Monnaie, and was chief director of the original poetic drama Young Confucius and the original dance drama White Deer Yuan Spring. HAN FENG Costume designer

Making her COC debut, Han Feng is one of the world’s leading clothing and accessories designers, increasingly sought-after for her costume and exhibition designs. She has made her mark in opera by creating costumes for Anthony Minghella’s celebrated production of Madama Butterfly (Metropolitan Opera, English National Opera, Lithuanian National Opera); The Bonesetter’s Daughter (San Francisco Opera); and, Miss Fortune which premiered at the Bregenz Festival in 2011. Her costume design activities have expanded into the realm of film through her role as costume consultant for the recent remake of The Karate Kid, directed by Harald Zwart and starring Jackie Chan. WOLFGANG GÖBBEL original Lighting designer

German lighting designer Wolfgang Göbbel has worked for a wide variety of the world’s leading theatres including Royal Shakespeare Company, Salzburger Landestheater, and the Gate Theatre, the Almeida Theatre and the National Theatre, all in London. In the field of opera he has lit shows for Deutsche Oper Berlin, Staatsoper Berlin, Wiener Staatsoper, Volksoper Wien, Komische Oper Berlin, De Nederlandse Opera, Please visit coc.ca for additional information

Théâtre Royale de la Monnaie, Vlaamse Opera, English National Opera, Royal Opera House Covent Garden, as well as Metropolitan Opera, San Francisco Opera, Houston Grand Opera, and Teatro alla Scala. He has also worked as a guest artist at the following international festivals: Aldeburgh Festival, Bregenzer Festspiele, Salzburger Festspiele, Edinburgh International Festival, and Glyndebourne Opera Festival. SANDRA HORST Chorus Master

Sandra Horst’s recent COC credits include Tosca, Love from Afar, Rigoletto and Iphigenia in Tauris. She also conducted Rossini’s Il viaggio a Reims for the COC. Director of musical studies for the University of Toronto’s Opera Division, she most recently conducted Poulenc’s La voix humaine and Les mamelles de Tirésias. Ms Horst has formerly 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 recently honoured by Wilfrid Laurier University. This spring with the COC, she is also chorus master for The Tales of Hoffmann. JENIFER KOWAL stage Manager

This is Jenifer Kowal’s 20th season with the COC. Earlier this season, she was stage manager for the COC’s Rigoletto. Ms Kowal was previously stage manager for the COC’s Aida and, at the Brooklyn Academy of Music, for The Nightingale and Other Short Fables. Recently she was 13

ArTISTS’ BIOGrAPHIeS

the production stage manager for the Pittsburgh Civic Light Opera’s Miss Saigon, which also toured to Toronto and Schenectady. Previous COC credits include Carmen, The Flying Dutchman, A Midsummer Night’s Dream, Fidelio, War and Peace, Eugene Onegin, Tosca, Don Carlos, La Traviata, Lady Macbeth of Mtsensk and all COC productions of the Ring Cycle. Ms Kowal studied theatre at Indiana University. STEPHEN B. HARGREAVES assistant Conductor

Stephen B. Hargreaves divides his professional work between conducting and solo performance. In the fall of 2011 he was assistant conductor for the COC’s Iphigenia in Tauris. Recently, he conducted Le nozze di Figaro from a replica of Mozart’s fortepiano with Opera Omaha, performed Rachmaninoff’s Piano Concerto No. 3 with Marion Philharmonic, and played the world premiere of Gordon Parmentier’s Piano Concerto No. 3 with Green Bay Symphony. He has conducted for Lyrique-en-Mer/Festival de Belle-Île, Chicago Opera Theater, Pine Mountain Music Festival and Lyric Opera of Kansas City. Future engagements include playing Brahms’ Piano Concerto No. 2 with Grand Forks Symphony Orchestra and cover-conducting Aida with Glimmerglass Festival.

ALLISON GRANT assistant director

Allison Grant recently directed and choreographed Roméo et Juliette with Vancouver Opera. She has just returned from Theatre London where she choreographed and performed in The Great Gatsby. Other directing highlights include Die Zauberflöte (Sarasota Opera), Don Giovanni and Carmen (Opera Ontario), Così fan tutte (Vancouver Opera), L’italiana in Algeri (Opéra de Montréal), Smokey Joe’s Café (Stage West Calgary) and, Leslie Arden’s A Meeting of Minds (Canadian Stage). She was choreographer for the COC’s Queen of Spades, Dido and Aeneas, Don Giovanni and Eugene Onegin. At Theatre Athena, where she was recently artistic director, she directed Master Class, Private Lives and the Canadian premiere of Itamar Moses’ Bach at Leipzig.

M – Mainstage Performances e – ensemble studio Performance, May 23

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.

Canadian Opera Company 2011/2012 Season

(l â&#x20AC;&#x201C; r) Adrian Kramer as Papageno, Michael Barrett as Monostatos and Simone Osborne as Pamina in the COC Ensemble Studio performance of The Magic Flute, 2011. Photo: Michael Cooper

Ensemble Studio The Canadian Opera Company Ensemble Studio is the countryâ&#x20AC;&#x2122;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, Joanne Kolomyjec, Wendy Nielsen, Joni Henson, John Fanning, and Isabel Bayrakdarian. For more information about supporting the COC Ensemble Studio, please call 416-847-4949 or visit coc.ca.

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 diane Tait, Assistant Concertmaster neria Mayer, Acting Assistant Concertmaster Anne Armstrong Sandra Baron Bethany Bergman nancy Kershaw, on leave of absence dominique laplante Yakov lerner Jayne Maddison Aya Miyagawa VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal James Aylesworth Pamela Hinman* elizabeth Johnston louise Tardif Marianne Urke Joanna Zabrowarna

VIOLA Keith Hamm, Principal Joshua Greenlaw, Assistant Principal, rhyll Peel Angela rudden* Theresa rudolph Koczó, on leave of absence Beverley Spotton Yosef Tamir CELLO Bryan epperson, Principal Alastair eng, Associate Principal Paul Widner, Assistant Principal Maurizio Baccante Olga laktionova elaine Thompson BASS Alan Molitz, Principal robert Speer, Assistant Principal Tom Hazlitt Paul langley OBOE Mark rogers, Principal lesley Young

BASSOON eric Hall, Principal elizabeth Gowen

LIBRARIAN Wayne Vogan

HORN Joan Watson, Principal Gary Pattison

ASSISTANT MUSIC LIBRARIANS Capella Sherwood, on leave of absence Susan Ball (interim)

TRUMPET robert Grim, Principal Brendan Cassin

STAGE LIBRARIAN Paul langley PERSONNEL MANAGER Ian Cowie

TIMPANI Michael Perry, Principal

* extra musician

CONTINUO HARPSICHORD Stephen B. Hargreaves* CELLO Paul Widner ORGAN Samuel Tak-Ho Tam* THEORBO John edwards*

CANADIAN OPERA COMPANY CHORUS SOPRANOS lindsay Barrett Margaret evans laura Klassen Alexandra lennox-Pomeroy eve rachel Mcleod Jennifer robinson Teresa van der Hoeven MEZZO-SOPRANOS Marianne Bindig Sandra Boyes Wendy Hatala foley

Sonya Gosse lilian Kilianski Kathryn Knapp Karen Olinyk TENORS Craig Ashton Stephen Bell Taras Chmil Sam Chung nicolas Groenewegen John Kriter Stephen McClare

Canadian Opera Company 2011/2012 Season

BARITONES & BASSES Kenneth Baker Sung Chung Michael downie Jason nedecky Michael Sproule Jan Vaculik Gene Wu

BOARD OF DIRECTORS OFFICERS Mr. Paul B. Spafford, Chair Mr. Philip C. deck, President Mr. Paul A. Bernards, Treasurer Mr. John H. Macfarlane, Secretary Mr. Alexander neef, General Director (ex officio) Mr. robert lamb, Managing Director (ex officio) MEMBERS Mr. Mark Appel Mr. H. Anthony (Tony) Arrell Ms nora Aufreiter Mr. Barry Avrich Mr. robert Brouwer Ms Marcia lewis Brown

Mr. Stewart Burton Mr. George S. dembroski Mr. William fearn (ex officio) Mr. david C. ferguson Mr. Adam froman Mr. Michael Gibbens Ms Merle Gobin (ex officio) dr. linda Hutcheon (ex officio) Ms Trinity Jackman Ms Pamela Jeffery Mr. Jeff lloyd Mr. Stephen O. Marshall Ms Judith Matthews Mr. Geoffrey Matus Ms Trina McQueen Mr. Jonathan Morgan Mrs. Sue Mortimer

Mr. nicholas Mutton Mr. Ian Pearce Ms frances Price Mr. John rothschild Mr. Arthur r. A. Scace, C.M. Ms Colleen Sexsmith Ms Michele leighton Symons Ms Sandra Simpson Mr. Philip S. W. Smith Ms Kristine (Kris) Vikmanis Ms Karen Walsh Mr. John H. (Jack) Whiteside Mr. Tom Woods HONORARY DIRECTORS 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 Tom Anderson, President northumberland Opera Guild Thais Donald, President Oakville Opera Guild Margaret Parker, President Peterborough Opera Guild June Wilson Thexton, President Quinte Opera Guild Dorothy Temple, President Sudbury Opera Guild Mike Humphris, President Western new York Opera Guild Dorothy K. Piepke, President

ARIAS: Canadian Student Opera Development Fund Arija Stiver, Chair Merle Gobin & June Shaw, Co-Presidents Marina Mcdougall, Past President lisa Teskey, Vice President/Treasurer

CANADIAN OPERA FOUNDATION Mr. William fearn, Chair Mr. derek Brown Mr. J. rob Collins Mr. Philip C. deck (ex officio) Mr. david forster Mr. George Hamilton, Treasurer Mr. roy d. Hogg, fCA Mr. Ken Jesudian Hon. dennis lane Mr. Peter MacKenzie Ms Kathleen Mclaughlin Mr. david e. Spiro, Secretary

For more information on COC Guilds please visit coc.ca/Guilds

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ADMINISTRATION AND STAFF AleXAnder neef, General director Robert Lamb Managing Director Johannes debus Music Director EXECUTIVE OFFICE Executive Assistant to the General Director Marguerite schabas (on leave) Laura Kelly ARTISTIC ADMINISTRATION Roberto Mauro Artistic Administrator MUSIC sandra Gavinchuk Music Administrator

Assistant Librarian Capella sherwood (on leave) susan Ball (interim) COC Ensemble Studio Mireille asselin ambur Braid Rihab Chaieb Timothy Cheung neil Craighead Jenna douglas Christopher enns adrian Kramer Ileana Montalbetti simone osborne Philippe sly Jacqueline Woodley Production Assistants Morgan-Leigh Hearty ariel Martin-smith Gloria Tran PROGRAMMING

sandra Horst Chorus Master Wayne Vogan Music Librarian, Coach

nina draganić Director of Programming – Free Concert Series

Core Crew scott Clarke Terry Hurley Paul otis Chuck Theil

Assisted By adrienne Baker Marion schoeler Haylee stolee-smith

alex naylor Scene Shop Co-ordinator

Additional Costume Painting by Chrome Yellow

david Retzleff Head Scene Shop Carpenter

Marilyn Rodwell Wardrobe Mistress

andrew Walker Assistant Scene Shop Carpenter Richard Gordon Head Scenic Artist Katherine Lilly Assistant Head Scenic Artists scott Williamson Rehearsal Head Technician Guy nokes Properties Supervisor

PRODUCTION

Rafe Macpherson Wardrobe Assistant 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

elizabeth upchurch Head of the Ensemble Studio & Coach

Lee Milliken Production Manager

stephanie Tjelios Resident Properties Builder/Co-ordinator

olwyn Lewis SURTITLES™ Assistant

derek Bate Resident Conductor

david Feheley Technical Director

Kathy Frost Resident Properties Buyer/Co-ordinator

Music Staff Rachel andrist esther Gonthier stephen B. Hargreaves anne Larlee Ben Malensek Christopher Mokrzewski Kinza Tyrrell Felice Venanzoni eric Weimer

Barney Bayliss Associate Technical Director

Supernumeraries Co-ordinators analee stein elizabeth Walker

Tracy Taylor Properties Builder/ Co-ordinator

DEVELOPMENT

Assistant Technical Directors Melynda Jurgenson Wendy Ryder

olwyn Lewis Company Manager

Janice Fraser Head Electrician

Ren Cahill Costume Co-ordinator

Kathryn Garnett Scheduling Manager

Joel Thoman Assistant Electrician

Costume Assistants Kiyomi Hidaka Lina Marques

Michael Barrs Assistant Scheduling Manager

al Merson Head of Sound

Karen olinyk Administrative Assistant, Music Birthe Joergensen Archivist, Joan Baillie Archives Ian Cowie Orchestra Personnel Manager

Wendy Greenwood Lighting Supervisor

Paul Watkinson Head Carpenter Mike Gelfand Assistant Carpenter Rupert Baker Head Flyman alison Potter Head of Properties

Properties Builders Carolyn Choo Wulf sandra Corazza Costume Supervisor

sue Furlong Resident Tailor Assisted By Marianne alas deniz Cakin Karen Hancock Ilana Harendorf Carolyn Kasperski Additional Costumes by Industry Costumes

FSCPA – Four Seasons Centre for the Performing Arts

Canadian Opera Company 2011/2012 Season

Christie darville Director of Development Jill Planche Associate Director, Individual Giving dawn Marie schlegel Senior Development Officer, Individual Giving & Donor Programs Leeanne Rorabeck Senior Development Officer, Individual Giving natalie sandassie Senior Development Officer, Annual Programs andrea Lauzon Foundations and Government Relations Officer

stephen Radbourn Donor Relations Officer

Cecily Carver Social and Interactive Media Co-ordinator

CaLL CenTRe sarah Frankel Call Centre Manager

aisha Talarico Development Officer, Friends of the COC

eldon earle Marketing Co-ordinator

Call Centre Representatives atanas Bozdarov elaine Gault alex Gladwell stephen Kreuger Richard Paradiso Tomasz smereka adriano sobretodo Jr. Margaret Terry Mauro Victoriano

Kevin sean Pook Individual Giving Co-ordinator, Friends of the COC stephanie Hunt Development Officer, Individual Giving & Ensemble Circle

Michelle Hwu Retail Co-ordinator olga Kwak Digital Marketing Co-ordinator Gianmarco segato Retail and Editorial Co-ordinator

adriana Formusa Individual Giving Co-ordinator

Maria Lioutaia Publicist

nikita Gourski Development Communications Assistant

amanda Hadi Communications Assistant

Carlie Weppler Senior Development Officer, Corporate Development

John Kriter Volunteer and Creative Assistant

sybil Choles Development Officer, Corporate Programs

eduCaTIon and ouTReaCH Katherine semcesen Associate Director, Education

Peggy Lau Co-ordinator, Corporate Development

Carly anderson Manager, Child and Youth Programs

Tracy Briggs Manager, Special Events

Vanessa smith Manager, School Programs

Christine Tizzard Co-ordinator, Special Events

FINANCE AND ADMINISTRATION Lindy Cowan, Ca Director of Finance and Administration Ray Gooden, FCa (u.K.) Finance Manager General Accountants Florence Huang Zoran orlić (fSCPA) Payroll Accountants Jovana Bojovic Jeanny Won steven sherwood Manager, IT Services Tony sandy IT Services Assistant nick Mitropoulos Computer Services Assistant

TICKeT seRVICes alan Moffat Patron Relationship Manager

Katarina Božović Receptionist/ Switchboard

COMMUNICATIONS

andrea salin Associate Manager, Ticket Services

Branka Hrsum Mailroom Clerk/ Courier

Claudine domingue Director of Public Relations

nikki Tremblay Assistant Ticket Services Manager

BUILDING SERVICES

Jeremy elbourne Director of Marketing

david nimmo Group Sales Co-ordinator

Phil stephens Senior Manager, Sales and Customer Service

Ticket Services Supervisors erin Cook Lilian Fung Victor Widjaja

olena Moldovan Data Processing Co-ordinator

suzanne Vanstone Senior Communications Manager, Editorial Gianna Wichelow Senior Communications Manager, Creative Jennifer dougall Digital Marketing Manager (on leave) Jennifer Pugsley Media Relations Manager

Ticket Services Representatives Terry Bursey ernest Cayemen Holly Coish danielle d'ornellas anna Kay eldridge Peter Genoway Keith Lam Ian Mcdonnell Mary Porter Mitch Yolevsky

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Joe Waldherr Associate Director, Facilities Management Piro Milo Assistant Building Services Manager Security Supervisors Videsh dookhu dave samuels

Security Officers George Balyasin Joel Grannum Tammy Hill natalia Juzyc usman Khalid Kathleen Minor Heather Reid Building Operators dan Bisca Radu Chereji dan Popescu Paula da Costa Resident Supervisor – Eurest Service FOUR SEASONS CENTRE FOR THE PERFORMING ARTS alfred Caron Director, Four Seasons Centre for the Performing Arts elizabeth Jones Associate Director, Business Development Megan Valde Business Services Assistant Jefferson Guzman Associate Director, Patron Services Kim Hutchinson-Barber Assistant Manager, Front of House Brigitte Lang Assistant Manager, Food & Beverage Patron Services Supervisors Kelly Bailey stuart Constable enrique Covarrubias Cortes Jamieson eakin Melissa Lapczynski adam orr Brynn Pearson Rebecca Riddell ashley Westlake Kimberly Wu Carianne Hill Patron Services Lead

Maintenance Assistants Ryszard Gad (CoC) Branislav Peterman (CoC) Julian Peters (CoC) Tymen de Vries (FsCPa) James esposito (FsCPa) Piotr Wiench (FsCPa)

!S .AMING $ONOR OF THE &OUR 3EASONS #ENTRE FOR THE 0ERFORMING !RTS WE ARE PROUD TO BE A LIFELONG FRIEND OF THE FINE ARTS EXPERIENCE FOR PATRONS HERE AND FROM AROUND THE WORLD

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. dr. larry M. Agranove

Kolter Communities

ArIAS: Canadian Opera Student development fund

The Catherine and Maxwell Meighen foundation

The Gerard & earlaine Collins foundation

e. louise Morgan

The late John A. Cook

Joey & Toby Tanenbaum

roger d. Moore

The estate of Horst dantz and don Quick

Major Gifts & Special Projects

every year, the Canadian Opera Company has unique projects operating beyond regular annual activities, each of which relies on private funding to ensure its success. These include: transition and endowment funding, production underwriting, artist and performance sponsorship as well as training, education and outreach programs.

$1,000,000+ The estate of Horst dantz & don Quick‡ $500,000 – $999,999 The Catherine and Maxwell Meighen foundation $100,000 – $499,999 Anne & Tony Arrell Paul Bernards david G. Broadhurst Jean davidson & Paul Spafford Philip deck & Kimberley Bozak George S. dembroski Gail & Bob farquharson estate of ethel Berney Jackson‡ Judy & Wilmot Matthews Trina & don McQueen Tim & frances Price Colleen Sexsmith Sandra l. Simpson The Slaight family riki Turofsky & Charles Petersen Jack Whiteside Anonymous‡ $25,000 – $99,999 estate of daphne Bell earlaine Collins ethel Harris & the late Milton e. Harris ronald Kimel & Vanessa laPerriere Marjorie & roy linden estate of Aldo & Anita Maggiorotti

Jill & Geoff Matus roger d. Moore Wendy J. Thompson and the late Samuel A. rea The Stratton Trust françoise Sutton William & Phyllis Waters Anonymous (1) UP TO $24,999 Cecily & robert Bradshaw Marcia lewis Brown Ian & June Cockwell Catherine fauquier david & Kristin ferguson Peter & Hélène Hunt Hon. Henry n. r. Jackman‡ Patrick & Barbara Keenan J. Hans Kluge Jo lander Peterson family foundation david roffey & Karen Walsh Katalin Schäfer robert Sherrin dr. david Stanley-Porter & dr. Colin McGregor Mailer Kris Vikmanis & denton Creighton Samara Walbohm estate of Hugh Victor Wallace Anonymous (2)

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INDIVIDUAL ANNUAL SUPPORT GOLDEN CIRCLE GOLD, $50,000 + Anne & Tony Arrell**** 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** Sandra l. Simpson* SILVER, $25,000 – $49,999 Andrew Peller limited Mark & Gail Appel*** Paul Bernards*** Cecily & robert Bradshaw Stephen Clarke & elizabeth Black* Philip deck & Kimberley Bozak*** George & Kathy dembroski**** Mr. & Mrs. W. Humphries*** ronald Kimel & Vanessa laPerriere**** Susan loube & William Acton* BRONZE, $12,500 – $24,999 dr. & Mrs. Hans G. Abromeit**** Philip & linda Armstrong* Ms nora Aufreiter Melissa & Barry Avrich John & Claudine Bailey**** 21

Christian Franz as Siegfried (back to camera) in the COC’s Siegfried, 2005. Photo: Michael Cooper

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.

Barbara Black* Mr. Philip J. Boswell†**** Walter M. & lisa Balfour Bowen**** Susanne Boyce & Brendan Mullen*** rob & Teresa Brouwer* Marcia lewis Brown Stewart & Gina Burton* Mr. and Mrs. Alexander Christ**** dr. John Chiu in memory of Yvonne Chiu, C.M.**** The Max Clarkson family foundation**** J. rob Collins & Janet Cottrelle**** Sydney & florence Cooper* Mr. & Mrs. leslie dan** Jean davidson & Paul Spafford**** david denison & Maureen flanagan* david & Kristin ferguson**** George fierheller**** Margaret & Jim fleck* lloyd & Gladys fogler*** four Seasons Hotels & resorts** Adam & Sharin froman roger & Kevin Garland** Michael & lora Gibbens Ira Gluskin & Maxine Granovsky Gluskin*** James & Joyce Gutmann**** ethel Harris & the late Milton Harris**** dr. W. P. Hayman & dr. M. l. Myers*** William & nona Heaslip foundation**** douglas e. Hodgson**** Michael & linda Hutcheon**** William Ip & Kathleen latimer* Jeff lloyd & Barbara Henders* Mr. & Mrs. J. S. A. Macdonald**** Bobby & Gordon Macneill* Judy & Wilmot Matthews* Jill & Geoff Matus* John & esther Mcneil*** don McQueen & Trina McQueen, O.C.* John McVicker & B. W. Thomas**** Johanna Metcalf*** delia M. Moog** Jonathan Morgan & Shurla Gittens* Sue Mortimer**** nicholas & rosemary Mutton Mrs. & Mr. Christl & Karl niemuller** donald O’Born** Peter M. Partridge**** Ian & Michelle Pearce Tim & frances Price**** Ms r. raso**** david roffey & Karen Walsh***

Barrie rose & family*** John A. rothschild* Philip & Maria Smith** Stephen & Jane Smith**** Marion & Gerald Soloway** david e. Spiro*** david Stanley-Porter**** ryerson & Michele Symons Ms Kristine Vikmanis & Mr. denton Creighton**** Jack Whiteside** Tom & ruth Woods*** PRESIDENT’S COUNCIL PRESIDENT’S COUNCIL COMMITTEE Mary-Catherine Acheson diane Adamson-Brdar Thomas J. Burton Gladys fogler 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**** Mrs. A. ephraim diamond & family**** Andrew fleming** The Hon. William C. Graham & Mrs. Catherine Graham**** Al & Malka Green* rainer Hackert**** Maggie Hayes** Trinity Jackman Bernhard & Hannelore Kaeser**** J. Hans Kluge* Murray & Marvelle Koffler**** Mr. Gurney Kranz*** Anne lewitt* Jerry & Joan lozinski**** John Macfarlane* The Hon. Barbara Mcdougall*** Mrs. louise O’Shea**** rogan foundation Mr. & Mrs. r. T. ruggles**** françoise Sutton** dr. david Shaw* Carol Swallow*** Anonymous (1) PATRON, $3,750 – $7,499 Clive & Barbara Allen**** Mr. Peter Allen* Sue Armstrong*** ron Atkinson & Bruce Blandford*** Mrs. n. A. Balciunas**** Mona H. Bandeen, C. M.** Karen & Bill Barnett

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l. H. Bartelink in memory of Oskar & Irmgard Gaube** dr. Thomas H. Beechy**** Mr. doug & Mrs. Alison Bell Mr. & Mrs. eric Belli-Bivar*** dr. Catherine Bergeron** Mr. roland Bertin**** Tom Bogart & Kathy Tamaki* William & Anna Maria Braithwaite* dr. david & Constance Briant**** dr. Jane Brissenden & dr. Janet roscoe**** Mrs. donna Brock** Margaret & derek Brown**** Murray & Judy Bryant** Sharon & Howard Campbell* Joe & laurissa Canavan Cesaroni Management limited** Paul G. Cherry & dean C. noack**** Peter & frances Chiddy* frank Ciccolini**** The rt. Hon. Adrienne Clarkson Marilyn Cook* Mr. & Mrs. William J. Corcoran** lindy Cowan† & Chris Hatley** Mrs. ninalee Craig*** norman Curtis**** raul Werneck de Castro** Jill denham & Stephen Marshall* dr. Jeanne deinum**** Carol derk & david Giles* Bernard & francine dorval** Peter & Anne dotsikas** Vreni & Marc ducommun*** Bud & leigh eisenberg*** Joseph fantl & Moira Bartram* Graham farquharson** fleur-de-lis Interior design Kimberley fobert & robert lamb†*** The fraser elliott foundation**** dr. & Mrs. Wm. O. Geisler** The Hon. Alastair W. Gillespie**** Ben & Sarah Glatt**** Peter & Shelagh Godsoe* rose & roger Goldstein *** Michael & Anne Gough**** ronald & Birgitte Granofsky**** douglas & ruth Grant John & Judith Grant** John Groves*** Gudrun Hackert*** Hampton Securities ltd. Scott & ellen Hand** Mr. & Mrs. William B. Harris*** Hon. & Mrs. Paul Hellyer**** Ava Marion Hillier* Prof. Michiel Horn**** Scott Irvine† & Joan Watson†** The Jackman foundation*** Victoria Jackman*** dr. Peter Janetos* 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**** Jean V. Kramar* The Hon. dennis lane, Q.C. & Mrs. Sandra lane**** Harold & larraine langer**** Mr. Philip lanouette* John B. lawson, Q.C.**** Paul lee & Jill Maynard**** Mr. J. levitt & Ms e. Mah* daniel & Janet li* Anthony lisanti** Vincent & Helene lobraico* Angelo & Grace locilento** Tom C. logan* Jonathan & dorothea lovat dickson* Mrs. J. l. Malcolm* dr. & Mrs. M. A. Manuel* Hon. Margaret & Mr. Wallace McCain** Christa & robert Mcdermott* Paul & Jean McGrath**** Kathleen Mclaughlin & Tim Costigan* June Mclean**** Mr. Ulrich Menzefricke**** dr. Thomas & Mrs. Catherine H. Millar dr. Judith A. Miller*** Bruce & Vladka Mitchell* Professor david J. Murray*** eileen Patricia newell** Mrs. Sally-Ann noznesky**** e. Oliana & A. Iu*** Keith & Brenda Ottaway*** 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**** Wendy J. Thompson and the late Samuel A. rea**** Mrs. Gabrielle richards** rob & Penny richards*** Margaret A. riggin* Gordon robison & david Grant* Joseph l. rosenmiller** Maxwell l. rotstein & nancy-Gay rotstein**** Annie & Ian Sale Ms Sharon Cookie Sandler*** Judy & Hy Sarick**** Sam & esther Sarick*** Helen & John Scott* dr. ralph Shaw & June 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**** dr. richard & Jane Stoneman* Mr. & Mrs. Michael Tatham* Kathryn J. Thornton**** Anthea Thorp**** Vincent Tovell, O.C.*** Ian Turner** rosalind & dory Vanderhoof donald & Margaret Walter**** Hugh & Colleen Washington* William r. Waters*** ruth Watts-Gransden**** dr. Virginia Wesson** dr. Jack Williams & dr. dorothy Pringle** Mr. & Mrs. richard Wookey*** linda Young* Tricia Younger The Youssef-Warren foundation*** Helen Ziegler** Sharon Zuckerman**** Helen & Walter Zwig**** Anonymous (7) MEMBER, $2,250 – $3,749 Mr. Herb Abramson** The Acheson family foundation** d. C. Adamson-Brdar**** dr. & Mrs. larry M. Agranove**** donna & lorne Albaum* Mr. & Mrs. roberto & nancy Albis** Mr. Thomas & Mrs. Claire Allen* Mr. & Mrs. Howard Alpert** dr. d. Amato & Ms J. Hodges**** rod Anderson & Merike lugus**** Andrée Appleton & Alexander leman* Anne-Marie H. Applin*** Valerie Armstrong**** Philip Arthur* Virginia Atkin*** John Bailey* James C. Baillie* Marilyn & Charles Baillie**** Andrew & Cornelia Baines**** Janice A. Baker**** richard J. Balfour*** Schuyler Bankes & family*** lindy Barrow** Ms roxanne Bartel dr. frank Bartoszek & Mr. daniel O’Brien**** florence Sharpe Barwell**** Julia Bass & david Hamilton** Alice & Tom Bastedo** rene Beaulieu dr. Gail Beck, O. Ont. & Mr. Andrew fenus Mr. & Mrs. Peter & Sondra Beck

Canadian Opera Company 2011/2012 Season

Ms Marie Bérard†** dan Bereskin, Q.C. & rhoda Gryfe** nani & Austin Beutel**** John n. & Miranda A. H. Birch J. Bismillah* Anneliese and Walter Blackwell**** Susanne Blake*** lynn Blaser & John van Ogtrop**** Ian & Janet Blue** John & Ila Bossons* Mr. W. Bowen & Ms S. Gavinchuk†*** Mrs. Carolyn Bradley-Hall & Mr. William Bradley*** Mrs. richard Bradshaw*** Sylvia Brander**** Peter Brieger & Beverley Hamblin* Brian Bucknall & Mary Jane Mossman**** Alice Burton** Thomas J. Burton* Barrie & Betty Cade** Maureen Callahan & douglas Gray* Margaret Harriett Cameron**** della H. Campbell**** Brian & ellen Carr**** Gail Carson**** Wendy M. Cecil**** 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**** Margaret Couch** Gay & derek Cowbourne* Irene & Keith Croot*** ruth & John Crow*** Andreas Curkovic Mary Beth Currie & Jeff rintoul Carrol Anne Curry*** Ms lindsay dale-Harris & Mr. rupert field-Marsham**** doris J. daughney dr. & Mrs. Michael & Ute davis** Brian J. dawson** Michael & Honor de Pencier*** Mrs. rosario de Wit-farro*** Mrs. leonard G. (Anne) delicaet & Mrs. Kendra Anne delicaetAlmasi**** Mary-Kathleen delicaet & John Young Perry & rae dellio*** Angelo & Carol delZotto*** Mr. & Mrs. elvio delZotto* Mr. & Mrs. A. J. diamond*

Mr. david S. dick J. diGiovanni* Olwen & frank dixon* James doak & Patricia Best** Sandra Z. doblinger* Ms Petrina dolby** dr. James & Mrs. ellen downey* John duffy & Jill Presser* Marko duic**** H. I. dunlop*** Judy dunn* Mr. Albert d. dunn* ron dyck & Walter Stewart*** William & Gwenda echard**** Jean edwards* Wendy & elliot eisen*** Mr. & Mrs. John J. elder**** Genia & Stan elkind**** robert elliott & Paul Wilson* dr. & Mrs. John evans** Virginia evans* fabris Inc. George A. farkass* Gail & Bob farquharson Catherine fauquier*** Bill fearn & Claudia rogers*** fraser & Margot fell**** lee K. ferrier*** William & rosemary fillmore** Mr. & Mrs. Cosimo & Christina fiorenza** dr. Sidney M. fireman* Mrs. lois fleming**** david & elizabeth forster** robert & Julia foster** Margaret & david fountain**** Mr. Michael A. french* Judith Ann fullerton* robert fung** John & rita Gagliano rev. Ivars Gaide & rev. dr. Anita Gaide** Tom & Helen Galt**** Ann Gawman** dr. Barry A. Gayle**** Martin & Mindy Gerskup* The Honourable Irving Gerstein & Mrs. Gail Gerstein* Mr. & Mrs. Andrew Giancamilli * Ann J. Gibson**** Mary & lionel Goffart dr. eudice Goldberg dr. fay Goldstep & dr. George freedman* deanna A. Gontard**** Tina & Michael Gooding** Wayne A. Gooding**** Goodman family* david & Janice Gordon** dr. noëlle Grace & The Shohet family*** Jane Greene* Mr. finn Greflund & Mrs. M. Ortner* Mr. Carmen & Mrs. Vittoria Guglietti* ellen & Simon Gulden**** Anna l. Guthrie****

Mr. & Mrs. Henry Hackenspiel**** dan Hagler & family** Ms francess G. Halpenny**** Mr. Adrian J. Hamel George & Irene Hamilton**** John & ruth Hannigan Beverly Hargraft* Michael Harris & Carol rak* Valerie & Brian Harris**** Mr. d. Harrison & dr. e. fischer* Paul & natalie Hartman* david Harquail & Birgitta Sigfridsson* Jenny Heathcote**** Mr. Thomas G. Heintzman & Ms Mary Jane Heintzman** Caroline Helbronner** Jacques & elizabeth Helbronner** Ann & lyman Henderson**** Thea Herman & Gregory King** William e. Hewitt*** Mr. Tom Higgins** Sam & libby Ho** Chris Hoffmann & Joan eakin* richard & donna Holbrook**** Sally Holton & Stephen Ireland*** emmy & Walter Homburger** Mr. roland Hoy** drs. Walter & Virginia Hryshko* Ken Hugessen & Jennifer Connolly* Anthony C. J. Humphreys**** Gillian Humphreys* Peter & Hélène Hunt**** Mrs. Wilma Hysen*** Infonex Inc.* Prof. Christopher Innes & Brigitte Bogar* William Innes* dr. Melvyn l. Iscove** elliott Jacobson & Judy Malkin* lynne Jeffrey*** laurence Jewell* The norman & Margaret Jewison Charitable foundation**** Mrs. e. Patricia Johnson** Ms elizabeth Johnson* dr. Albert & Bette Johnston* Joyce Johnston** Peter Kalen* Joseph & Maureen Katchen david W. & Sheryl l. Kerr* Inta Kierans**** Peter Kingsmill* ellen & Hermann Kircher**** Mr. douglas Klaassen** dr. elizabeth Kocmur**** Michael & Sonja Koerner** robin Korthals & Janet Charlton* dr. robert Kosnik**** richard J. Kostoff** Valarie Koziol William & eva Krangle****

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richard T. la Prairie* elizabeth & Goulding lambert*** leslie & Jo lander**** robert & Judith lawrie dr. Connie lee** linda lee & Michael Pharoah**** neal lee & dominique lee* dr. richard lee & Mr. Gary Van Haren* Alexander & Anna leggatt*** Joy levine** Mr. Peter levitt & Ms Mai Why** Cheryl lewis & Mihkel Voore** l. liivamagi Justin S. linden Marjorie & roy linden**** dr. & Mrs. W. G. lindley**** Janet & Sid lindsay** dr. Vance logan*** A. Benson lorriman**** douglas l. ludwig & Karen J. rice** dr. robert G. luton**** Ms Jane loughborough* Mary lu & Bruce Macdonald**** James & Connie Macdougall**** Mr. Jed MacKay**** dr. & Mrs. richard Mackenzie**** Mrs. r. MacMillan**** Tom & Catharina MacMillan**** Macro Properties ltd.* Susan & Scott Maidment** dr. Colin McGregor Mailer**** r. Manke**** Mr. & Mrs. r. Gordon Marantz**** Gerald & Helen Marr**** Kenneth & Kathleen Mathieson* Pauline and dipak Mazumdar at the Toronto Community foundation**** Mrs. ettore Mazzoleni** dr. & Mrs. John A. McCallum**** Wendy & Chris Mcdowall* dr. & Mrs. donald C. McGillivray**** ronan McGrath & Sarah Perry darcy & Joyce McKeough* don Mclean & diane Martello Guy & Joanne Mclean**** M. e. Mcleod**** Jean M. Mcnab**** Margaret C. Mcnee Mark & Andrea McQueen*** Shawn Mcreynolds & elaine Kierans* Mr. Ian McWalter* dr. don Melady & Mr. rowley Mossop** eileen Mercier**** MI9 Business Intelligence Systems Ingrid & daniel Mida* Marvene (Cox) & Gordon Miller** lee Milliken† & doug Macnaughton* Patricia & frank Mills** Ms Kamini Milnes* Audrey & david Mirvish**

dr. david n. Mitchell & dr. Susan M. Till*** Mr. donald Mitchell robert & Janet Mitchell* eva Mocarski* dr. & Mrs. S. Mocarski* Anne Moore**** Mr. robert Morassutti**** Alice Janet Morgan*** Ada & Hugh G. Morris* Ms rosalind Morrow* drs. Christopher & Pippa Moss** Gael Mourant & Caroline Hubberstey Mr. noel Mowat** Mr. Joseph Mulder* Taketo & Vija Murata* ethel Myers**** 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** Janice Oliver** Benson Orenstein*** Martin & Myrna Ossip* Julia & liza Overs*** John Pahapill* dr. & Mrs. n. Pairaudeau**** Isabel Pargana & raimondo Maltese lee Parsons Mrs. Margaret Ann Pattison**** John & Penelope Pepperell* dr. r. G. Perrin* Mr. William Perry* John & Carol Peterson** M. J. Phillips**** June C. Pinkney**** Johann C. Pinto robin B. Pitcher*** Wanda Plachta*** Jill† & ron Planche Georgia Prassas**** C. edward rathé**** Stephen ralls & Bruce Ubukata** The Carol & Morton rapp foundation**** Kenneth f. read**** Grant l. reuber*** Carolyn ricketts*** Ms nada ristich emily & fred rizner* Clara robert* Ms Virginia robeson Sidney robinson & linda Currie**** dr. Michael & Mary romeo**** John & Hannah rosen* Ken & Helen rotenberg* rainer & Sharyn rothfuss**** drs. Orest & Maureen rudzik**** david A. ruston*** Mallory Morris Sartz & John Sartz****

Stewart & dianne Saxe**** dr. & Mrs. Bruce Schaef**** Beverly & fred Schaeffer**** Katalin Schäfer*** Mrs. Ortaud Scherer* fred & Mary Schulz* dr. Marianne Seger**** Carol Seifert & Bruno Tesan** Mr. & Mrs. norman Shamie*** Victor & rhoda Shields**** Milton & Joyce Shier**** dr. Kevin Shiffman* dorothy Cohen Shoichet** William Siegel & Margaret Swaine* In memory of dr. Bernard Slatt dr. & Mrs. Jeremy Sloan* Jay Smith & laura rapp* Kenneth & Catherine Smith*** Ms Muriel Smith & Mr. eric Ojala*** dr. Joseph So*** Philip Somerville* John & ellen Spears*** Martha e. Spears*** Alex & Kim Squires**** Oksana r. Stein*** Mr. & Mrs. Gary & Sula Stern* dr. & Mrs. Stephen Stern*** John d. Stevenson*** James H. Stonehouse* dr. Peter Stroz & dr. Sophia Pantazi*** Janet Stubbs Sunny Crunch foods ltd. eric Tang & dr. James Miller* Mr. Arthur Paul Tarasuk* Mr. & Mrs. Gordon Taylor*** Judith Teller foundation**** Tesari Charitable foundation** John Todd & Jenny Ginder**** John & liz Tory**** diana Tremain**** riki Turofsky & Charles Petersen* Sandra & Guy Upjohn** dita Vadron & James Catty* Tony & Mary van Straubenzee*** dr. r. B. Van Winckle edmond & Sylvia Vanhaverbeke*** Mr. & Mrs. Henry & Ann louise Vehovec*** dr. Yvonne Verbeeten** dr. Helen Vosu & donald Milner**** richard & nathalie Wachsberg Samara Walbohm & Joe Schlesinger dr. O. r. Waler* elizabeth & Michael Walker** Peter Webb & Joan York**** Philip & diana Weinstein* dr. Bogomila Welsh* Ms eleanor Westney* Melanie Whitehead** Ms Anne-Marie Widner & Mr. Paul Szymanski*** Mr. Brian Wilks*

Canadian Opera Company 2011/2012 Season

elizabeth Wilson & Ian Montagnes**** Jeffrey Stewart Wilson* dr. Jackson Wu & dr. Viviana Chang erik Yeo Morden Yolles**** Marina Yoshida*** dr. Howard & Sybil Young**** Tricia Younger* George Zeman Susan Zorzi** Anonymous (25) FRIENDS OF THE COC As of February 29, 2012 SUSTAINING FRIENDS $1,600 – $2,249 In memory of M. Baptista** dody Bienenstock* Iivi Campbell**** Jayne & Ted dawson**** J. e. fordyce**** Mr. A. Mafrici**** Mrs. Annette Oelbaum* Clarence & Mary Pace** dr. roger d. Pearce*** dr. norbert V. Perera**** Go Sato**** Jim Stewart & deborah Swail* Mr. Alex Tosheff Mr. & Mrs. Vernon & Beryl Turner*** Gordon Waugh*** Ms June Yee** Anonymous (2) ASSOCIATE FRIENDS $1,100 – $1,599 Ms I. M. Allen**** Howard A Back Michael & Janet Barnard* Michael Benedict & Martha lowrie**** don Biderman**** dr. Wendy C. Chan Patricia Clarke** Cogeco data Services Mr. John A. Crocker & Mrs. Mary Crocker*** elaine & Michael davies**** Mr. darren day** Prometheum Institute*** dr. domville** r. dalton fowler**** John H. Galloway**** dr. Gabriela Gohla Aviva & Andrew Goldenberg** Mr. Henry Gooderham** Suzy Greenspan** Jean & Bill Heaslip**** lawrence & Beatrice Herman*** Mr. david Holdsworth & Ms nicole Senecal* Mr. Josef Hrdina* donald Hughes*** James Hughes**

Ms elisa Kearney Ms Suanne Kelman & dr. Allan J. fox* Ms K. Margot Khan Mr. Martin Kirr & Ms Suzanne McCuaig Mr. & Mrs. Owen & Margie Kurin* duncan & Sondra lear P. Anne Mackay**** Mrs. Janet Maggiacomo* Brian Miron & Monica Vegelj* Mr. Carl Morey*** Mr. Sean O'neill*** Barbara & Peter Pauly* Ms Alexandra Petrenko Ms Victoria Pinnington** Mr. & Mrs. Porporo* dr. Peter ray*** dorothy & robert ross*** A. K. Sigurjonsson*** C. Anderson Silber* dr. & Mrs. Bernie & Bobbie Silverman** david Smukler & Patricia Kern** norma and George Steiner**** Ms Peg Thoen* Wendy Thorburn* dr. M. lynne Thurling & dr. John Treilhard** Bill MacKenzie & Alan Westbrook*** Janet White* ron Williams* Anonymous (3) CONTRIBUTING FRIENDS $700 – $1,099 Carol A. Albright*** dr. doron Almagor dr. I. l. Babb fund at the Toronto Community foundation*** Peter & leslie Barton** Jeniva Berger*** david W. Binet dr. B. derek & dr. Anne W. Birt**** dr. Jennifer Blake* Ms Marlene Bohn* Mary Brock & Brian Iler**** Mr. Thomas n. Bryson** Ms Judith Burrows** Theresa & John Caldwell**** Betty Carlyle**** Mark Cestnik**** Harold Chmara & danny Hoy**** Joe T. r. Clarke**** d. M. Cook*** Valerie Cowie Mr. & Mrs. norman & louise Coxall*** Mr. neil Crawford Professor K. G. davey, OC** don deBoer & Brent Vickar*** Mrs. Grace diez* Mr. Michael disney* Maureen & Jack ditkofsky

Mr. Steven d. donohoe**** Howard & Kathrine eckler** Peter & Shashi eden* Mr. ray eleid Ms eleanor l. ellins**** Mr. larry enkin ** Joe & Helen feldmann** Brian A. ferguson*** richard & Gail flack** Tom flemming**** Mr. Morris flicht**** Mrs. & Mr. Jennifer & francis flower*** dr. & Mrs. A. Mervyn fox**** linda & Ken foxcroft* douglas G. Gardner*** elinor Gill ratcliffe C.M., O.n.l. Alison Girling and Paul Schabas* Mr. Alexander Globe lisa & Harvey Golombek in memory of Hilda & Isie Golombek* ricardo Gomez-Insausti* dr. Wilfred S. Goodman**** Mrs. Marion A. Green**** dr. & Mrs. Voldemars Gulens Gisele Hall Mr. James Hamilton* Philo Handler** dr. & Mrs. Brian & Cynthia Hands**** Mr. & Mrs. e. roy Harrison**** Ms leslie Hart Mr. & Mrs. H. C. Hatch*** Sandra Hausman** W. l. B. Heath**** In memory of Pauline Hinch* richard & Susan Horner**** dr. Ivan & Mrs. diana Hronsky**** Pierre Hurtubise**** Ms Catherine Hutt* Mr. Sumant Inamdar* Mr. Jai Jayaraman Mr. Kazik Jedrzejczak**** frances e. Johnson**** douglas & dorothy Joyce**** Heidi & Khalid Khokhar*** Mai Kirch**** dr. & Mrs. l. A. Kitchell**** Mr. & Mrs. I. P. & O. M. Komarnicky*** Mr. & Mrs. Armin Kratel*** Mr. Jonathan Krehm* Horace & elizabeth Krever**** Gediminas P. Kurpis**** Mr. James r. lake**** Harry lane** M. J. Horsfall large** Giles le riche & rosemary Polczer** Claus & Heather lenk* Mr. Yakov lerner Mrs. Mary liitoja**** dr. francois loubert Craig & Karen* Ms dzidra M. Martinaitis* Kathy Marton

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Mary McClymont**** Mary McGowan*** Jil McIntosh* Mr. Bruce McKeown*** Mr. & Mrs. Martin & deborah McKneally** Georgina Mclennan**** Sylvia McPhee**** Mr. Jeffrey Mesina Suzanne Mess*** dr. Alan C. Middleton** Murray & ruth Miskin Mr. Blake Murray** eve nash**** david northcote & Suzanne Betcke** Jean O'Grady* Ms Cristina Oke** Karen Olinyk† eileen and ralph Overend Mr. Joseph & Mrs. letizia Paradiso*** david Peachey & Georgia Henderson** dr. A. Angus Peller* Mrs. dorothy K. Piepke**** ed & Beth Price** Margaret ramsden**** dr. Shelley rechner**** Marat ressin Mr. david e. roman**** Mrs. Gertrude rosenthal**** M. Sanvido**** Barbara Sawaszkiewicz**** elisabeth Scarff**** Patti & richard Schabas** Mrs. Sylvia Schmid**** The derick Brenninkmeyer Charitable foundation Henry & Mary Seldon*** Anci Shafran**** Cheryl Shook* d. Bruce Sinclair** Joan Sinclair & John McConnell** fern Sitzer**** Brit & Sally Smith Mr. Warren Sorensen & Mr. Gregory Williams**** John Spears**** Tony Stapells** dr. & Mrs. W. K. Stavraky*** Scott Steele & Jan Korman* Helga & Klaus Stegemann*** Jane & Ted Stephenson*** robert & nancy Stephenson* Marta Stewart**** Paul & Maria Szasz**** Ms Michelle Tan* Mrs. Yoka Terbrugge dr. r. Paul Thompson* dr. I. l. Babb fund at the Toronto Community foundation dr. Claude Tousignant* david & diana Trent**** Tobias & Jeanne van dalen* dr. nancy f. Vogan**** Mr. Wayne Vogan†****

dr. Peter Voore*** rick & Virginia Walker* Mr. John M. Welch**** James and Margaret Whitby**** Mr. and Mrs. Karl Wildi david B. & Virginia Wortman** Ms Iris Zawadowski* Anonymous (17) 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. Planned giving also allows many people to make a significant gift without altering their current lifestyle. 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. In addition, gift planning may provide significant tax benefits for your estate. The Canadian Opera Company gratefully acknowledges and thanks the following individuals who have included the COC in their estate planning: dr. larry M. Agranove Isobel Allen renata Arens & elizabeth frey Mrs. rosalen Armstrong ron Atkinson & Bruce Blandford Mr. l. H. Bartelink J. linden Best & James G. Kerr david Bowen Marnie M. Bracht Walter Carsen earl Clark Brian Collins & Amanda demers earlaine Collins david H. Cormack 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

lynne Jeffrey Ann Kadrnka Kathryn Kossow Mr. Gurney Kranz Jo lander Peggy lau† Marjorie & roy linden J. Bruce Macdonald 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 Ms Georgia Prassas K. f. read dr. John reeve-newson Mrs. Margaret russell Cookie & Stephen Sandler J. M. doc Savage david Serber 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 Vivian Treacy Mrs. l. Treutler n. Suzanne Vanstone† Marie-laure Wagner Hugh & Colleen Washington Marion C. Wilson Marion York Anonymous (48) OPERATOURS DONORS $700 + From March 2011 – February 2012 dr. eric W. Amann Andrew & Cornelia Baines**** Howard & ruth Barrett Ian & Janet Blue** Walter M. & lisa Balfour Bowen**** Suzanne & James Bradshaw**** nancy H. Conn norman Curtis**** Mr. Steven d. donohoe**** dr. Irene Gulka donald Gutteridge & Anne Millar dr. & Mrs. richard Mackenzie**** Mrs. J. l. Malcolm* Judy & Wilmot Matthews*

Canadian Opera Company 2011/2012 Season

John & esther Mcneil*** Mr. Alex Moraru dr. robert e. Munn Ms H. M. Murata** dr. Ago Peters dr. Krystyna Prutis-Misterska Peter & lili rechnitzer Joan l. reid Mr. Stanley and Mrs. loretta Skinner**** Paul & Maria Szasz**** Marion Wilson**** Ms June Yee** Anonymous (3) 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 Ketchum Canada Inc. The above Individual Support Gifts were made as of March 12, 2012. * ** *** **** † ‡

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.

Four Seasons Centre for the Performing Arts. Photo: Sam Javanrouh

Corporate Sponsorship The Canadian Opera Company welcomes financial support from corporations that appreciate the advantages of partnering with one of Canadaâ&#x20AC;&#x2122;s premier performing arts companies. A variety of sponsorship opportunities can be customized to meet branding, marketing and corporate entertainment needs including production, performance, official orchestra and chorus sponsorships, as well as official supplier partnerships at the Four Seasons Centre for the Performing Arts. Corporate sponsorship offers exciting privileges that you and your company can enjoy all year long. For further information, please contact Carlie Weppler at 416-306-2321 or carliew@coc.ca.

MAJOR CORPORATE SPONSORS 2011/2012 SEASON Sun life financial Accessibility Program encompassing SUrTITleS™, Wheelchair Seating, Hearing-Assistive and Vision-Impaired devices

Official Automotive Sponsor of the COC at the fSCPA

BMO financial Group Pre-Performance Opera Chats and BMO financial Group Student dress rehearsals Production Sponsor Saariaho’s Love from Afar

Major Supporter, ensemble Studio

Xstrata ensemble Studio School Tour

Production Sponsor Handel’s Semele

Official Canadian Wine of the COC at the fSCPA

Presenting Sponsor Opera Under 30 and Operanation 8: A Muse Ball

Presenting Sponsor of the After School Opera Program and Summer Opera Camp

Preferred Hospitality Sponsor

KPMG Opera Golf Classic

Production Co-sponsors Zemlinsky’s A Florentine Tragedy and Puccini’s Gianni Schicchi

Preferred fragrance

Official Media Sponsors

Canadian Opera Company 2011/2012 Season

Official Spirit of the COC at the fSCPA

Official Airline Sponsor

digital Marketing Sponsor

201 1/2012 SPONSORS RENTALS SUPPLIER

PREFERRED FLORISTS

Quince flowers Tidy’s flowers OTHER SUPPLIERS

THe BUTler dId IT nestlé Waters Torrié Coffee Mill Street

DIAMOND PERFORMANCE SPONSORS

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OPENING NIGHT SPONSOR fionn MacCool’s HOSTING SPONSOR

PROGRAM SPONSORS Great West life, london life and Canada life, Living Opera Program Sponsor The Globe and Mail, Ticket Back Sponsor KPMG llP, Xstrata Ensemble Studio School Tour Performance Sponsor CORPORATE AND FOUNDATION DONORS MaJoR GIFTs

2011/2012 MEDIA SPONSORS & IN-KIND SUPPORTERS CBC radio Two remenyi House of Music ltd. KPMG OPERA GOLF CLASSIC TITLe sPonsoR KPMG llP OPERANATION 8: A MUSE BALL PResenTInG sPonsoR Td Bank Group

$10,000+ Audrey S. Hellyer Charitable foundation The Hope Charitable foundation The Hal Jackman fund at the Ontario Arts foundation The Mclean foundation Anonymous (1)

dInneR sPonsoR e-l financial limited

$5,000 to $9,999 local 58 Charitable Benefit fund SnC lavalin Unit Park Holdings Inc.

eVenT suPPoRTeRs The Balvenie Best Pr Boutique CTV HellO! Canada ICOn Model Management Inc. Quince flowers rose reisman Catering Storys The Globe and Mail Torrié espresso Wellington Printworks

$3,000 to $4,999 The Calgary foundation – nellie Hicks Memorial fund $2,000 to $2,999 Classical 96.3 fM Jarvis & Associates MAC Cosmetics Shinex Window Cleaning Inc. $1,000 to $1,999 Aeroplan Canada loyaltyOne McKinsey & Company Milgram Group of Companies ltd. Truck ‘n roll The Powis family foundation

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oFFICIaL FRaGRanCe Calvin Klein forbidden euphoria PaRTneRInG sPonsoR dundee real estate Asset Management (dreAM)

FINE WINE AUCTION 2012 PResenTInG sPonsoRs Td Securities Bloomberg suPPoRTInG sPonsoR Thomson reuters CHeese sPonsoR Cheese Boutique

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 $26.3 million in music throughout Canada. nous remercions de son soutien le Conseil des Arts du Canada, qui a investi 26,3 millions de dollars l’an dernier dans la musique à travers le Canada.

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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 Human resources and Skills development Canada Ontario Arts Council Ontario Cultural Attractions fund

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.

Canadian Opera Company 2011/2012 Season

SEMELE

TRANSFORMATIONS BY ERIC DOMVILLE

The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. A scene from Théâtre Royal de la Monnaie, 2009. Photo: Karl Forster

Canadian Opera Company 2011/2012 Season

he greatest strength of myths is their enduring relevance, whereby each human generation may re-interpret them in light of its own needs and challenges. The gods of Greek mythology are only too human in their foibles, weaknesses and rivalries. The main difference from mankind (apart from magical powers) is that the gods are immortal. For Handel (1685 – 1759) and the early 18th century – the Age of Reason – these myths offered a treasure trove of ultimately

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SEMELE Transformations

The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. (l – r) Nathan Berg as Cadmus, David Hansen as Athamas and Ying Huang as Semele, Théâtre Royal de la Monnaie, 2009. Photo: Zhang Huan Studio

reassuring models. The age disliked unhappy endings, since they contradicted its belief in the eventual triumph of good over evil. “Whatever is, is right,” as Handel’s admirer Alexander Pope expressed it in his Essay on Man (1734). Handel had established his reputation as the leading composer of works in the opera seria tradition: musical settings of Italian texts presenting stories from classical mythology and history. The form was severely restricted: a succession of da capo arias (built on an ABA structure) with very few ensembles and a chorus limited to the opening and closing moments. Handel displayed his greatness in his resourceful handling of such restrictions. Operas would be performed at various times of the year, but especially in the period from December 26 to Shrove Tuesday. 22

Canadian Opera Company 2011/2012 Season

Theatres closed the following day, Ash Wednesday, for the penitential season of Lent. During that period performances of oratorios took place in churches or concert halls. Handel had created the English tradition of oratorio in 1718 with Esther. Oratorios mainly treated biblical or other religious subjects, although a few dealt with mythological stories. This is where Semele comes in. Handel composed it at his usual high speed, in a month from June 3 to July 4, 1743. The original libretto was drafted by the Restoration playwright William Congreve in 1707 as part of a vain effort to protect opera in English against the tidal wave of Italian works. Handel retained much of Congreve’s text, although the best-known number, “Where’er you walk,” is taken from Pope’s Summer.

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Adventures Adven ntures in Wonderland W d Returnss Novembe November er 2012! national.ballet.ca national.ba allet.ca 416 416 345 3 45 9595 95 595 Greta G re t a H Hodgkinson, odgkinson, R Robert obert S Stephen tephen a and n d JJillian illian V Vanstone a n s t o n e iin nA Alice’s l i c e ’s A Adventures d v e n t u r e s in i n Wonderland. W o n d e r l a n d . Photos P h o t o s by b y Christopher C h r i s t o p h e r Wahl. Wa h l .

SEMELE Transformations

The work was first performed “in the manner of an oratorio” on February 10, 1744, as part of the Theatre Royal’s Lenten concert series. However, early audiences were shocked at the frank sexuality of much of the work, particularly at such a holy time of year. It is difficult today to appreciate the outrage felt by many opera enthusiasts at what now seems very tame. They also expressed reservations at the devious manner in which Handel slipped in an opera under the excuse of “oratorio.” One of his other collaborators, Charles Jennens, who had compiled the text of Messiah a couple of years earlier, noted

snarkily about Semele: “No Oratorio, but a bawdy Opera… An English Opera, but called by fools an Oratorio, and performed as such at Covent-Garden.” Call it what you will, Semele is one of those works on an English text which permitted Handel to move away from the rigid conventions of opera seria towards the greater fluidity of operatic form more familiar to us. The heroine still has a string of da capo arias, each evoking a different aspect of her personality, but there are also more ensembles (duets, quartets) and greatly increased involvement for the chorus.

The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. A scene from Théâtre Royal de la Monnaie, 2009. Photo: Karl Forster

Canadian Opera Company 2011/2012 Season

SEMELE Transformations

Semele herself often suffers from bad press. Commentators tend to call her vain and empty-headed as she allows herself to be destroyed by Juno’s jealousy. Yet she is in love with Jupiter, head of the gods. It’s no wonder she is swept off her feet and fantasizes about living with him. She is carrying his child, a boy later to become the powerful god Bacchus. For his part, Jupiter, whose favourite form of exercise is to seduce mortal women through very peculiar disguises – a swan, a bull, a shower of gold – seems genuinely in love with her. His anguish strikes home as he realizes her fate when he is to appear before her in his full godhead. Juno, the wronged wife, is goddess of the home and marriage as well as protector of women in childbirth. Her jealousy is completely understandable, although one may consider her vengeance a shade too extreme. The mandatory “happy ending” dictates that Semele’s fiancé, Athamas, should marry her sister, Ino. The deus ex machina, Apollo, god of reason and equilibrium, resolves all problems and commands that Semele’s baby will be plucked, Phoenixlike, from her ashes to be raised by Jupiter and to become the future god of the dark side, Bacchus. Zhang Huan – a Chinese sculptor, photographer and performance artist – directs the COC’s Semele. Zhang has directed this production at Théâtre de la Monnaie in Brussels in 2009 and then in Beijing in 2010. He is an extraordinarily prolific and successful visual artist, working mainly in New York and Shanghai, where he employs 100 assistants. Initially he would often use his body as a form of theatre wherein he tried to unite the physical and the spiritual. His deepening interest in Buddhism lends extra emphasis to his use of the basic elements of life, notably earth, dirt and incense ash. 26

Canadian Opera Company 2011/2012 Season

The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. Ying Huan as Semele, Théâtre Royal de la Monnaie, 2009. Photo: Zhang Huan Studio

Passion. Pride. Performance.

All the Right Moves The same strong focus and discipline that took Geon van der Wyst to the top of his profession as principal dancer, has taken his career in real estate to award winning levels. His level of skill and service has clients saying: “I successfully sold my house in Lawrence Park in a quiet market, thanks to Geon van der Wyst’s expert guidance that eased the complicated process from beginning to end. I could not be happier with the experience and the result.” – L. Hertzman “It was a pleasure listing my Forest Hill Town House with Geon. It sold within 24 hours of the Agents’ Open House at above asking... Geon was most professional throughout and created outstanding PR materials for the listing as part of his service. I look forward to working with him again.” – John Theo

Geon van der Wyst Passion. Pride. Performance.

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SEMELE Transformations

The extra-large heads he sculpts consist mainly of steel and ash; permanence and transience. In 2012, two of Zhang’s several exhibitions are “Swept Away: Dust, Ashes and Dirt in Contemporary Art and Design” in New York and “Buddhism in Art” in Hong Kong. In an interview on YouTube, he remarks that “a good artist has to be illogical” and goes on to claim that he likes to take two completely different things and make something new out of them. Contradicting himself, Zhang proves quite logical in this production, which unites so many of his diverse concerns. He fuses Handel’s Baroque masterpiece with traditional Chinese theatrical practices. Dominating the set is a genuine temple, about 450 years old, of the Ming Dynasty (1368 – 1644). Zhang bought the structure, had it disassembled and transported to his Shanghai studio, where it was patiently reassembled and restored. It has now been brought, piece by piece, to Toronto. This shrine replaces the palaces of the Greek gods. As the overture plays, a black and white documentary film traces the recent history of the temple, with the result that Handel’s music becomes a soundtrack. During the excavation of the temple, Huan discovered several personal mementoes including the diary of a man who lived in the temple 20 years ago. The diary disclosed that the man’s beautiful wife, Ruan Jinmei, was unfaithful to him. Ultimately, the man murders one of her lovers, resulting in

his incarceration and execution by firing squad. During the main action, Zhang offsets the stately dynastic ritual of the drama with such whimsical elements as a “stage donkey” and a huge inflatable puppet on the roof during the comic interlude between Juno and Somnus, the god of sleep, as she initiates her revenge. Yet the prevailing mood is one of tragedy (“Whatever is, is wrong”). This production finishes with the incineration of Semele and the sweeping away of her ashes as a funeral procession exits. We may be denied the consolation of Apollo’s prophecy, but perhaps Semele will be reincarnated in accordance with Buddhist teaching. Visually, the production is sumptuous. Han Feng has designed costumes combining Chinese and European Baroque features. Each main character has a distinctive colour scheme, which plays off against the saffron robes of the monks. Rudyard Kipling wrote: East is East, and West is West, and never the twain shall meet… But there is neither East nor West When two strong men stand face to face, though they come from the ends of the earth! Whatever the outcome, Handel’s glorious music is sure to carry the day. n Eric Domville is a Professor Emeritus of English at the University of Toronto. He lectures and broadcasts on opera, and is a member of the COC Volunteer Speakers Bureau.

FOR FURTHER INSIGHTS INTO SEMELE, PLEASE READ CARLY ANDERSON’S “MYTH MANIFEST: ZHANG HUAN’S SEMELE” IN THE SPRING ISSUE OF PRELUDE, AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

Canadian Opera Company 2011/2012 Season

Perfect Match

Talk about a perfect match: every dollar you contribute to the COC until June 30, 2012 will be matched in value by an anonymous donor and directed to our prestigious Ensemble Studio training program. That means your gift goes twice as far in developing the next generation of Canadian opera singers, directors and conductors. And that means opera of superlative quality will continue flourishing in Canada. To learn more about participating in the Year-End Matching Appeal, please visit coc.ca or call us at 416-847-4949.

* The COC recognizes individual donations with a charitable tax receipt for the maximum amount allowable under the Canada Revenue Agency guidelines. Carlo Ventre as Cavaradossi and Adrianne Pieczonka as Tosca in the Canadian Opera Company production of Tosca, 2012. Photo: Michael Cooper

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 will be 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 will 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.

Canadian Opera Company 2011/2012 Season

Ticket Services Canadian Opera Company subscriptions and individual tickets are available through COC Ticket Services ONLINE: www.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 www.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 www.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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