Fall 2016 Program by Canadian Opera Company

NORMA ARIODANTE PROGRAM FALL 2016

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CONTENTS 4

WHAT’S PLAYING: NORMA

THE DRAMA BEHIND BELLINI’S NORMA

GET TO KNOW ELZA VAN DEN HEEVER

WHAT’S PLAYING: ARIODANTE

FROM ARTASERSE TO ARIODANTE

25 28 31 32 35 36

BIOGRAPHIES: NORMA

CENTRE STAGE: An Experience You Won’t Forget

40 42 44 49

BIOGRAPHIES: ARIODANTE THE BMO EFFECT BACKSTAGE AND BEYOND BACKING A WINNING TEAM MATTHEW AUCOIN: Doing What Comes Naturally

A MESSAGE FROM GENERAL DIRECTOR ALEXANDER NEEF At its most fundamental, opera is about compelling, imaginative, inspiring storytelling. When music and voices collaborate in the act of storytelling the result can be an extremely powerful expression of humanity. This season at the COC we have a remarkable array of stories for you to enjoy—from tales of ancient druids and princesses, to fictional opera divas; from mythic characters in a mythical land to real-life champions of human rights. Their stories may be different, but they are deeply felt and intensely communicated, and they are our stories. In them, we see our own struggles and successes, joys and fears, and we are grateful for the shared experience.

MEET THE GUILDS AN OPEN LETTER FROM JOHANNES DEBUS REMEMBERING LOUIS RIEL CREATING A BETTER DONOR EXPERIENCE

50 56

HONEY, CHEESE, ART!

PATRON INFORMATION AND POLICIES

MANY THANKS TO OUR SUPPORTERS

GO SCENT FREE In consideration of patrons with allergies, please avoid wearing perfumed beauty products and fragrances!

During this 10th anniversary season in our marvelous opera house, the Four Seasons Centre for the Performing Arts, I am particularly proud that the COC is a home for truly special programming devoted

Recently, the COC has created a strategic plan to focus our efforts on those issues that are most crucial to our future development. Among other things, this process has yielded a stronger-than-ever commitment to artistic excellence, expressed

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to achieving the greatest heights of artistic excellence, in, once again, an all-COC season.

in our new vision of bringing the transformative experience of opera to you every day of the year. Follow these COC365 buttons (left) throughout the program to get a better idea of how we share with you our creative initiatives and worldclass opera 365 days of the year.

COC Program is published three times a year by the Canadian Opera Company. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright Canadian Opera Company. Direct all advertising inquiries to gcansick@mirvishmedia.com. Program edited by Claudine Domingue, Director of Public Relations; Kristin McKinnon, Publicist and Publications Co-ordinator; and, Gianna Wichelow, Senior Manager, Creative and Publications. Layout by Gianna Wichelow. All information is correct at time of printing. Photo credits are on page 61.

CANADIAN OPERA COMPANY 2016/2017

Marco Berti as Pollione and Sondra Radvanovsky as Norma in the COC’s production of Norma, when it was mounted at San Fransisco Opera in 2014. Part of this production, illustrated over the next few pages, was built at the COC’s Scene Shop in Toronto.

NORMA BY VINCENZO BELLINI

Opera in two acts w Libretto by Felice Romani, based on a play by Alexandre Soumet First performance: Teatro alla Scala, Milan on December 26, 1831 NEW COC PRODUCTION Co-production with San Francisco Opera, Lyric Opera of Chicago, and Gran Teatre del Liceu (Barcelona). Last performed by the COC in 2006 October 6, 15, 18, 21, 23, 26, 28, November 5, 2016 Sung in Italian with English SURTITLES™

THE CAST AND CREATIVE TEAM (in order of vocal appearance)

Oroveso Dimitry Ivashchenko

Clotilde Aviva Fortunata^

Lighting Designer Duane Schuler

Pollione Russell Thomas

Conductor Stephen Lord

Chorus Master Sandra Horst^****

Flavio Charles Sy†***

Director Kevin NewburyD

Stage Manager Jenifer Kowal

Norma Sondra Radvanovsky*

Assistant Director Marilyn Gronsdal

SURTITLES™ Producer Gunta Dreifelds

Elza van den Heever (Oct. 23, 26, 28, Nov. 5)

Set Designer David KorinsD

Adalgisa Isabel Leonard**

Costume Designer Jessica JahnD

(Oct. 6, 15, 18, 21)

Major artist support made possible by Jack Whiteside Sondra Radvanovsky’s performance is generously sponsored by The Tauba and Solomon Spiro Family Foundation

** Isabel Leonard’s performance is generously sponsored by Sue Mortimer *** Charles Sy’s performance is generously sponsored by Peter and Hélène Hunt **** Sandra Horst and the COC Chorus are generously underwritten by Tim and Frances Price D COC Debut † Current member of the COC Ensemble Studio ^ Graduate of COC Ensemble Studio Program information is correct at time of printing. All casting is subject to change.

ACT I 85 minutes INTERMISSION 25 minutes ACT II 70 minutes Performance time is approximately three hours.

CANADIAN OPERA COMPANY 2016/2017

NOTES Bellini’s Norma is a story about the rituals of sacrifice, both public and private, that inform the entire opera; from the Druid community’s collective sacrifice during wartime to Norma’s threatened sacrifice of her own children and, ultimately, her own life. While little is known about actual Druid religious rituals, mythology suggests that human and animal sacrifice were central to the Druid ethos. In researching ancient Druid and Gaulish mythology, my design team and I were drawn to these images of sacrifice—like the Ritual of Oak and Mistletoe involving the slaughter of two white bulls, as described by Pliny the Elder in the first century BCE. We were also inspired by images of “sacred forests” and legends that envisaged trees as the physical manifestation of the gods. As the opera illustrates, burning effigies seem to have been central to Druid rituals, often taking the form of a wooden or wicker man or other such sculptural representations of human beings or animals.

The foreboding door to the outside world, the totem bullheads on the wall, and Norma’s children’s miniature elements of war all reflect this world of sacrifice and conflict. Our space is both a temple and a war factory, as the Druids work to build a war machine to unleash upon the occupying Romans. In our production, the entire chorus is preparing the war effort: their distinct clothes, hair, and tattoos all augment the feeling of a unified community pursuing a common cause. Although we have set the production in a mythic, Game of Thrones-inspired milieu, Norma feels very contemporary to me. Norma’s children are already being indoctrinated into a world of war, with its requisite betrayals and sacrifices. Norma’s moments with her children are deeply moving to me, especially in the hands of the gifted singing actresses Sondra Radvanovsky and Elza van den Heever. Her rumination about whether or not to kill her own children envisions both a Medea-like act of revenge and an act of protection from the violent world she knows awaits them (as in Toni Morrison’s classic novel Beloved). In our production, Norma breaks the cycles of violence as she turns the war machine into an effigy and the instrument of her ultimate sacrifice. Kevin Newbury, director

Druidic mythology, and the idea of the “sacred forest,” informed the set design of this production.

CANADIAN OPERA COMPANY 2016/2017

SYNOPSIS ACT I Gaul, 50 BCE, during the Roman occupation Near a forest at night, the priest Oroveso leads the Druids in a prayer for revenge against the conquering Romans. After they have left, the Roman proconsul Pollione admits to his friend Flavio that he no longer loves the high priestess Norma, Oroveso’s daughter, with whom he has secretly had two children. He has fallen in love with a young novice priestess, Adalgisa, who returns his love. The Druids assemble and Norma prays to the moon goddess for peace. She tells her people that as soon as the moment for their uprising against the conquerors arrives, she herself will lead the revolt. At the same time, she realizes that she could never harm Pollione. When the grove is deserted, Adalgisa appears and asks for strength to resist Pollione, who finds her crying and urges her to flee with him to Rome. Norma tells her confidant Clotilde that Pollione has been recalled to Rome. She is afraid that he will desert her and their children. Adalgisa confesses to Norma that she has a lover. Recalling the beginning of her own love affair, Norma is about to release Adalgisa from her vows and asks for the name of her lover. As Pollione appears, Adalgisa answers truthfully. Norma’s kindness turns to fury. She tells Adalgisa about her own betrayal by the Roman soldier. Pollione confesses his love for Adalgisa and asks

her again to come away with him, but she refuses and vows she would rather die than steal him from Norma. INTERMISSION ACT II Norma tries to bring herself to kill her children in their sleep to protect them from an uncertain future with their father. She changes her mind and summons Adalgisa, advising her to marry Pollione and take the children to Rome. Adalgisa refuses—she will go to Pollione, but only to persuade him to return to Norma and the women reaffirm their friendship. Oroveso announces that a new commander will replace Pollione and tells the Druids that they must be patient to ensure the success of the eventual revolt. Norma is stunned to hear that Adalgisa’s pleas have not persuaded Pollione, and in a rage she urges her people to attack the conquerors. Oroveso demands a sacrificial victim and Pollione is brought in. Alone with him, Norma promises him his freedom if he will leave Adalgisa and return to her. When he refuses, Norma threatens to kill him and their children. She calls the Druids back and tells them that a guilty priestess must die, referring to herself. Moved by her nobility, Pollione asks to share her fate. Norma begs Oroveso to watch over her children and prepares to die with her lover.

CANADIAN OPERA COMPANY 2016/2017

Sondra Radvanovsky as Norma, a conflicted leader of her people 8

CANADIAN OPERA COMPANY 2016/2017

MUSIC STAFF Ben Malensek (Head Coach) Rachel Andrist Stéphane Mayer (Ensemble Studio Intern Coach) ASSISTANT CONDUCTOR Derek Bate

ASSISTANT STAGE MANAGERS Kristin McCollum Kate Porter ASSISTANT LIGHTING DESIGNER Davida Tkach Siobhan Sleeth

UNDERSTUDIES Norma Aviva Fortunata Clotilde Lindsay Barrett Flavio Aaron Sheppard

CANADIAN OPERA COMPANY ORCHESTRA VIOLIN I Marie Bérard, Concertmaster The Concertmaster’s chair has been endowed in perpetuity by Joey and Toby Tanenbaum Aaron Schwebel, Associate Concertmaster Jamie Kruspe, Assistant Concertmaster Anne Armstrong Sandra Baron Bethany Bergman Nancy Kershaw Dominique Laplante Yakov Lerner Jayne Maddison Neria Mayer Elizabeth Johnston VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal James Aylesworth Christine Chesebrough* Hiroko Kagawa* Renée London* Aya Miyagawa Alexei Pankratov* Louise Tardif Marianne Urke (leave of absence) Joanna Zabrowarna VIOLA Keith Hamm, Principal Joshua Greenlaw, Assistant Principal (leave of absence) Sheila Jaffé, Acting Assistant Principal Catherine Gray Rory McLeod*

Nicholaos Papadakis* Angela Rudden* 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 (leave of absence) Jonathan Yeoh, Acting Principal* Robert Speer, Assistant Principal Tom Hazlitt Paul Langley Robert Wolanski* FLUTE Douglas Stewart, Principal Shelley Brown (leave of absence) Maria Pelletier*

BASSOON Eric Hall, Principal Elizabeth Gowen (leave of absence) William Cannaway* HORN Mikhailo Babiak, Principal Janet Anderson Bardhyl Gjevori Gary Pattison TRUMPET Robert Weymouth, Acting Principal Michael Fedyshyn* TROMBONE Charles Benaroya, Principal Ian Cowie BASS TROMBONE Herbert Poole CIMBASSO Scott Irvine, Principal

PICCOLO Maria Pelletier*

TIMPANI Michael Perry, Principal

OBOE Mark Rogers, Principal Lesley Young

PERCUSSION Trevor Tureski, Principal

CLARINET James T. Shields, Principal (leave of absence) Afendi Yusuf, Acting Principal* Colleen Cook

HARP Sarah Davidson, Principal

Banda FLUTE Tristan Durie* OBOE Lief Mossbaugh* CLARINET James Ormston* BASSOON Lisa Chisholm* HORN Roslyn Black* Michele Gagnon* TRUMPET Brendan Cassin* Andrew Dubelsten* Michelle Wylie* BASS TROMBONE David Pell* PERCUSSION Chung Ling Lo* MUSIC LIBRARIAN Wayne Vogan ASSISTANT MUSIC LIBRARIAN Ondrej Golias STAGE LIBRARIAN Paul Langley PERSONNEL MANAGER Ian Cowie *extra musician

CANADIAN OPERA COMPANY CHORUS SOPRANOS Lindsay Barrett Christina Bell Stacie Carmona Katy Clark Margaret Evans Laura Klassen Alexandra Lennox-Pomeroy Ingrid Martin Kathleen (Katie) Murphy Jennifer Robinson Teresa van der Hoeven Ilana Zarankin

MEZZO-SOPRANOS Marianne Bindig Susan Black Wendy Hatala Foley Erica Iris Huang Lilian Kilianski Kathryn Knapp Erin Lawson Anne McWatt Karen Olinyk Megan Quick Vilma Indra Vitols Cindy Won

TENORS Vanya Abrahams Tonatiuh Abrego Stephen Bell Taras Chmil Sam Chung Stephen Erickson William Ford John Kriter Jason Lamont James Leatch Stephen McClare Eric Olsen

BARITONES/BASSES Grant Allert James Baldwin Jesse Clark Michael Downie Olivier Laquerre Jason Nedecky Michael Sproule Jan Vaculik Marcus Wilson Dylan Wright Gene Wu Michael York

CANADIAN OPERA COMPANY 2016/2017

THE DRAMA BEHIND BELLINI’S NORMA BY GIANMARCO SEGATO Bel canto is one of those slippery musical terms that ultimately obscures more than it illuminates. Its literal translation from the Italian is “beautiful singing” and like most labels used to describe historical artistic movements, was invented long after the fact as a convenient way to refer to Italian opera of the 18th and early 19th centuries. Confusion arises since bel canto is even more commonly used to refer to a specific singing style characterized by beautiful, long, legato melodies and dazzling vocal fireworks known as coloratura. While not entirely inaccurate, these definitions are limiting and too often present bel canto opera as an undifferentiated body of works which privilege pretty singing over meaningful drama. This latter, pejorative view lacks the benefit of a more nuanced, contextual understanding of a composer like Vincenzo Bellini, who in his quintessential bel canto opera Norma (1831), was directly inspired by the dramatic possibilities contained within the poetic texts he set to music. From the very start, critics recognized in the role of Norma a supreme challenge for the attrice cantante (“singing actress”). Bellini composed the role for Giuditta Pasta, famed not only for her extraordinary, if flawed, voice but also for the physicality of her performances that made her the leading singing actress of her time. Ever since, this Mount Everest of soprano roles has found its most successful interpreters in singers who could meet both its fierce technical demands as well as its myriad, contrasting emotional peaks and valleys. In the latter 20th century, the golden standard Norma has without a 10

CANADIAN OPERA COMPANY 2016/2017

doubt been Maria Callas, universally lauded for coming closest to meeting Bellini’s demands for dramatic declamation and technical virtuosity. It is into this grand tradition stretching back to Pasta that the COC’s two Normas, Canadian-American soprano Sondra Radvanovsky and South African Elza van den Heever, must slot themselves, bringing their own unique qualities to this iconic role without succumbing to the daunting, heavy weight of expectation that hangs about it. Sondra Radvanovsky (the COC’s rapturously received Aida in 2010 and Elizabeth I in 2014’s Roberto Devereux) acknowledges that her “journey with this role really has progressed quickly. Bel canto was rather new to me when I sang my first Norma [2011 in Oviedo, Spain]. I had only sung [one other bel canto role, Donizetti’s] Lucrezia Borgia before I undertook Norma for the first time, so I hadn’t had much experience with the style of music.” The role is very text heavy and many of the words are “archaic ones at that, so I spent much time translating the Italian word by word.” With this, Radvanovsky draws attention to an aspect of Bellini’s compositional methods which can be lost on listeners today, distracted as we might be by his gorgeous melodies. Bellini was profoundly inspired by the poetry of Felice Romani’s text, so much so that the score’s overall pattern of recitativo (the sung, “spoken” text) versus arias (the more expressive, reflective musical passages) was directly determined by the type of verse already laid out in the libretto. Bellini was so attached to Romani’s elegant verse that he would only accept commissions to write an opera

on the condition that his favourite poet was the librettist.[1] Composers from later in the Romantic Italian tradition, such as Verdi, primarily looked to dramatic situations for inspiration, while an earlier Romantic like Bellini was concerned foremost with the quality of the verse itself. Of his earlier 1827 success, Il Pirata, Bellini said, “Just look at [it] and you will see how it is the poetry, not the situation, that inspired my genius.”[2] Pioneering 19th-century Italian opera scholar Friedrich Lippmann has noted that contemporary reviewers of Il Pirata used the term “filosofico” (“philosophical”) to indicate Bellini had applied a new, more psychological approach to opera and to the treatment of human emotion. Armed with a heightened awareness of the importance Bellini placed on text, we can perhaps put to rest the dismissive view (nowadays, much less prevalent) that bel canto opera offers nothing more than an excuse for the type of vocal display muchloved by “canary fanciers.” To be sure, Norma’s technical demands are a huge part of the bel canto challenge, as Radvanovsky acknowledges: “There are so many nuances to singing it that are difficult, especially for a larger voice… You start the evening with [Norma’s opening aria] “Casta Diva” and the very declamatory recitativo before it… literally starting with a BANG!” This aspect of Bellini’s vocal writing was labeled canto declamato (“declamatory singing”) and has been described by musicologist Mary Ann Smart as a “melodic style in which singing approximates speech; recitative becomes more prominent, more melodically vivid, more

Did you know that Norma was the first full-scale opera ever performed in Toronto? A single performance was presented by the touring Artists’ Association Italian Opera Company on July 8, 1853 at the Royal Lyceum, a building that is no longer standing but was located on the south side of King Street, between York and Bay Streets. The company and the production arrived by stage coach and steamboat. It was reviewed by the Anglo-American magazine where it was noted that “the theatre is so small that Devries’ voice was a little too loud, and the prompter was perhaps too audible, but these are minor imperfections. The orchestra was very fair, but rather loud… We shall not attempt to criticize, that an entire opera has been performed in Toronto is a great fact.”

Sondra Radvanovsky as Norma with members of the San Francisco Opera Chorus CANADIAN OPERA COMPANY 2016/2017

emotionally intense.”[3] Bellini made these declaimed passages even more prominent by thinning out their orchestration, ensuring words could be heard and understood clearly. Elza van den Heever (the COC’s stunning Leonora in 2012’s Il Trovatore) speaks to the equal vocal and dramatic demands of Norma, emphasizing the “endless amounts of dramatic singing… but [much that is] also very delicate and subtle. The sheer endurance required to sing from the beginning all the way to the end is incredible! The most delicate passages come toward the end of the opera when you have already sung so much and your body and voice is just spent! So, it really is like climbing a mountain… I have always regarded it as such. But also, just as rewarding. It’s like reaching the top of a mountain and being able to observe the most exquisite view imaginable!” Radvanovsky also flags the role’s abrupt juxtapositions of canto declamato versus more lyric passages: after the dramatic recitativo that introduces “Casta diva,” “you then have to whittle the voice down to almost a whisper as you sing the aria, the prayer to the gods. So the vocal aspects in just the first 20 minutes alone are immense… this is what the whole evening is about, the duality of the character of Norma which is represented in

her vocal writing.” As Bellini scholar Herbert Weinstock has argued, “every trill, every chromatic run and every ornamentation in Norma's arias make perfect dramatic sense. [These] vocal embellishments… were never mere vehicles for technical virtuosity, as later singers sometimes made them appear… the runs, shakes, scales and trills were intended to be dramatically expressive—of fury, madness, ecstasy, or rapture.”[4] Bellini clearly intended his beautiful melodies to communicate profound depth of emotion and character. Van den Heever concurs, noting Norma’s enduring appeal is based as much on its drama as its music: “She is so complex and her relationships with everyone around her are so twisted. She is actually very real; her emotions run hot and cold very easily (like some of us!); her music is wild, exciting, tender and sweet all in one. It’s wonderful to play such a woman!” Gianmarco Segato is the COC’s Adult Programs Manager. NOTES 1. Simon Maguire, “Norma and the importance of poetry” Welsh National Opera Guide, 1985 2. David R B Kimbell, “Vincenzo Bellini and Felice Romani,” Welsh National Opera Guide, 1985 3. Mary Ann Smart, “Bellini’s Fall from Grace,” Opera (March 2002) 4. Herbert Weinstock. Vincenzo Bellini: His Life and His Operas. New York: Alfred A. Knopf, 1971

More About Bellini Vincenzo Bellini had a short and brilliant life. Born in Catania, Sicily in 1801, he grew up in a musical household and entered the Conservatory in Naples at 18. His first two operas were performed in Naples, but it was the premiere of his third opera, Il Pirata, at La Scala in Milan in 1827 that made him a star. Unlike many other opera composers of his time, Bellini never held an official position, maintaining a freelance career and getting paid very handsomely for it. For the rest of his life he lived mainly in Milan, also travelling to London and Paris. He enjoyed his success and the admiration of other composers such as Verdi, upon whom he had a distinct influence. He was known to be charming and sensitive, occasionally vain and self-centered, and conducted a complicated love life, often with married women. He was plagued in later years by what is thought to be amoebic dysentery. A bad attack while he was in France was mistakenly thought to be cholera and so Bellini died in isolation in 1835. At his funeral in Paris, it is reported that composers Cherubini and Rossini were two of the holders of the corners of Bellini’s shroud. He was buried in Paris but in 1876 his remains were removed and taken back to his home town of Catania.

JOIN US FOR OPERA INSIGHTS Opera Insights features big conversations and interactive events that take participants inside the operas of the Canadian Opera Company’s 2016/2017 season.

GREAT BEL CANTO DIVAS I HAVE KNOWN

OPERA CHORUS SING ALONG

Saturday, October 29: 1:30 – 3 p.m.

Warm up those pipes as you join COC Chorus Master Sandra Horst along with members of the COC Chorus and learn to sing popular opera chorus favourites!

Join Norma conductor and witty raconteur Stephen Lord in a fascinating, multi-media journey covering his work with some of the world’s greatest bel canto divas, from the legendary Joan Sutherland to the COC’s own Norma, Sondra Radvanovsky.

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CANADIAN OPERA COMPANY 2016/2017

Tuesday, November 1: 7 – 8:30 p.m.

RESERVE YOUR PLACE AT THESE FREE EVENTS AT

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Tattoos, Tents, and Champagne!

GET TO KNOW ELZA VAN DEN HEEVER

Audiences first saw Elza on the Four Seasons Centre stage as Leonore in 2012â&#x20AC;&#x2122;s Il Trovatore.

CANADIAN OPERA COMPANY 2016/2017

Sarah Connolly as Ariodante, Patricia Petibon as Ginevra and Luca Tittoto as the King in a scene from Ariodante. All photographs of this COC co-production are from the Festival dâ&#x20AC;&#x2122;Aix en Provence performances in 2014. 14

CANADIAN OPERA COMPANY 2016/2017

ARIODANTE BY GEORGE FRIDERIC HANDEL

Opera seria in three acts w Anonymous libretto based on a work by Antonio Salvi, adapted from Ludovico Ariosto’s Orlando Furioso w First performance: Covent Garden, London on January 8, 1735 Edited for the Hallische Händel Ausgabe by Fritz Lehmann. Used by arrangement with European American Music Distributors Company, Canadian agent and U.S. agent for Baerenreiter-Verlag, publisher and copyright owner.

COC PREMIERE Co-production with Féstival d’Aix-en-Provence, Dutch National Opera, and Lyric Opera of Chicago October 16, 19, 22, 25, 27, 29, November 4, 2016 Sung in Italian with English SURTITLES™

THE CAST AND CREATIVE TEAM (in order of vocal appearance)

Ariodante Alice Coote

Conductor Johannes Debus*

Choreographer Lucy BurgeD

Ginevra Jane Archibald

Director Richard Jones

Dalinda Ambur Braid^***

Associate Director Benjamin Davis

Puppetry Director and Design Finn CaldwellD

Polinesso Varduhi AbrahamyanD

Assistant Director Allison Grant

Lurcanio Owen McCausland^

Set and Costume Designer ULTZD**

King of Scotland Johannes WeisserD

Lighting Designer Mimi Jordan Sherin

Odoardo Aaron Sheppard†****

Puppetry Design Nick BarnesD Chorus Master Sandra Horst^***** Stage Manager Stephanie Marrs SURTITLES™ Producer Gunta Dreifelds

Johannes Debus is generously underwritten by George and Kathy Dembroski

ULTZ is generously sponsored by Robert Sherrin

*** Ambur Braid’s performance is generously sponsored by Peter M. Deeb **** Aaron Sheppard’s performance is generously sponsored by Margaret Harriett Cameron and the late Gary Smith ***** Sandra Horst and the COC Chorus are generously underwritten by Tim and Frances Price COC Debut † Current member of the COC Ensemble Studio ^ Graduate of COC Ensemble Studio Program information is correct at time of printing. All casting is subject to change. D

ACT I 65 minutes INTERMISSION 20 minutes ACT II 75 minutes INTERMISSION 25 minutes ACT II 55 minutes Performance time is approximately four hours.

CANADIAN OPERA COMPANY 2016/2017

Patricia Petibon as Ginevra

CANADIAN OPERA COMPANY 2016/2017

NOTES

SYNOPSIS

Ariodante stands out as one of Handel’s more melancholy works. It’s full of psychologically rich and interesting characters, with Ariodante and Ginevra at the centre of it all. Inspired by the original Edinburgh setting of the opera, we set this production on a remote Scottish island, but it could just as easily be a village in the Canadian Maritimes. It’s a close-knit, male-dominated community with a strong moral centre rooted in Calvinism. Their industry is based on fishing and wool, which is reflected in the costume designs which have islanders dress in Aran-style jumpers and kilts. It’s a physical, working community, so while the production is set in the late-1960s or early-‘70s, there is a sense of timelessness in the costumes and the dress is similar for men and women. Only Ginevra stands apart, with her more feminine clothes.

ACT I Ginevra tells Dalinda that she is in love with Ariodante and that they have the blessing of her father, the king. Polinesso enters and expresses his love for Ginevra, who rejects him. Dalinda tells Polinesso that Ariodante is his rival, but she also hints at her own feelings for Polinesso, who decides to use Dalinda to destroy Ariodante.

The islanders are essentially good people. Though they may have weaknesses, they have a strong moral compass. There is only one character that is really, actively bad amongst them: Polinesso. In our production, he takes the form of a charlatan preacher from a city on the mainland. He’s charismatic and interested in young women who have virginal and “ecstatic” qualities, such as Ginevra. But he has a very cruel, misogynistic streak, reminiscent of certain passages in the Old Testament. The King of the island is in a psychological slump after the death of his wife and takes comfort in Polinesso’s teachings, but is oblivious to the evil infiltrating his community. While the opera is titled Ariodante, Ginevra, in this production, is the character at its heart. She’s a young woman singled out and punished by a male-dominated community for her sense of imagination and fantasy, and in the end she makes a very important choice to leave this place of oppression. Her betrothed from a neighbouring island, Ariodante, is sensitive, sincere and noble-hearted, both in happiness and defeat. Lurcanio (Ariodante’s brother), driven by his anger and sense of justice, encourages the King to act violently. Dalinda (the other main female character in the opera) is tortured by her own blinkered desire and Polinesso’s machinations. In the midst of this, Ginevra is always moving forward, while the others are immobilized by their anger, their masochism or their depression. While we’ve taken inspiration from the 19th-century theatre of Ibsen and Strindberg for the overall style of the production, we’ve added an almost choreographed realism that plays with the formality of 18th-century theatre and heightens the psychological workings of Ariodante. Benjamin Davis, Associate Director

Ariodante and Ginevra are overjoyed when the king gives the order for their wedding to be celebrated the next day. Polinesso leads Dalinda to believe he loves her. Lurcanio, Ariodante’s brother, confesses to Dalinda that he loves her, but he is rejected. Ariodante and Ginevra celebrate their wedding eve. INTERMISSION ACT II Later that night, Polinesso tells Ariodante that he is already Ginevra’s lover and is surprised that Ariodante is marrying her. Ariodante conceals himself and Dalinda, disguised as Ginevra, invites Polinesso into her room. Ariodante is grief-stricken. Lurcanio, who has seen all of this, prevents Ariodante from killing himself, convincing him instead to seek revenge. News is brought to the king that Ariodante has plunged from a cliff into the sea and is presumed drowned. Ginevra collapses in grief. Lurcanio claims that Ariodante has killed himself because of Ginevra’s infidelity and he is willing to defend his story to anyone who will challenge him. INTERMISSION ACT III Ariodante has survived but is in torment. He meets Dalinda who is trying to escape Polinesso’s assassins. She now understands Polinesso’s trickery and explains all to Ariodante. Polinesso challenges Lurcanio’s story. They will duel with Polinesso as Ginevra’s champion. She resists this but the king insists despite Ginevra’s protests. During the duel, Lurcanio fatally injures Polinesso. A new challenger appears who reveals himself to be Ariodante. He promises to explain everything as long as Dalinda is forgiven her innocent part in Polinesso’s deception. Polinesso dies, having confessed everything, Dalinda is forgiven and accepts Lurcanio’s love. Ginevra is overjoyed at the sight of Ariodante and by her father’s blessing. The two couples celebrate the happy outcome of their troubles. CANADIAN OPERA COMPANY 2016/2017

VIOLA Keith Hamm, Principal Joshua Greenlaw, Assistant Principal (leave of absence) Sheila Jaffé, Acting Assistant Principal Catherine Gray Beverley Spotton Yosef Tamir

FLUTE Douglas Stewart, Principal Shelley Brown (leave of absence) Leslie Newman*

CELLO Bryan Epperson, Principal Alastair Eng, Associate Principal Paul Widner, Assistant Principal Maurizio Baccante Olga Laktionova Elaine Thompson

OBOE Mark Rogers, Principal Lesley Young

VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal James Aylesworth Elizabeth Johnston Aya Miyagawa Louise Tardif Marianne Urke Joanna Zabrowarna

BASS Alan Molitz, Principal (leave of absence) Jonathan Yeoh, Acting Principal* Robert Speer, Assistant Principal Tom Hazlitt Paul Langley

PICCOLO Douglas Stewart, Principal Shelley Brown (leave of absence) Leslie Newman*

BASSOON Eric Hall, Principal HORN Mikhailo Babiak, Principal Gary Pattison TRUMPET Robert Weymouth, Acting Principal Michael Fedyshyn* TIMPANI Michael Perry, Principal

PERCUSSION Trevor Tureski, Principal HARPSICHORD Johannes Debus Christopher Bagan* CELLO CONTINUO Alastair Eng ARCHLUTE AND BAROQUE GUITAR Sylvain Bergeron* MUSIC LIBRARIAN Wayne Vogan ASSISTANT MUSIC LIBRARIAN Ondrej Golias STAGE LIBRARIAN Paul Langley PERSONNEL MANAGER Ian Cowie * extra musician

Audiences may recall Richard Jones’ production of The Queen of Spades during the COC’s 2002/2003 season. A shared feature with his production of Ariodante is the haunting use of puppetry, an element that has enjoyed a huge gain in popularity in the last decade in all genres of theatre.

CANADIAN OPERA COMPANY 2016/2017

MUSIC STAFF Christopher Bagan (Head Coach) Timothy Cheung Hyejin Kwon (Ensemble Studio Intern Coach) ASSISTANT CONDUCTOR Walter Althammer

ASSISTANT STAGE MANAGERS Gerry Egan Chris Porter ASSISTANT LIGHTING DESIGNER Davida Tkach Siobhan Sleeth

UNDERSTUDIES Ariodante Emily D’Angelo Ginevra Jennifer Taverner Dalinda Danika Lorèn Polinesso Lauren Eberwein Odoardo Charles Sy

ASSISTANT PUPPETRY DIRECTOR Kate Colbrook PUPPETEERS Sam Clark Tommy Luther John Trindle

CANADIAN OPERA COMPANY CHORUS SOPRANOS Lindsay Barrett Alexandra Lennox-Pomeroy Jennifer Robinson

MEZZO-SOPRANOS Wendy Hatala Foley Anne McWatt Karen Olinyk

TENORS Stephen Bell Taras Chmil Sam Chung

BARITONES/BASSES Jason Nedecky Gene Wu Michael York

CANADIAN OPERA COMPANY 2016/2017

FROM ARTASERSE TO ARIODANTE

HANDEL AND OPERA IN THE 1730s BY STEPHAN BONFIELD The decade of the 1730s was a rough one for Handel. His exclusive, Crownchartered opera company, the Royal Academy, was under pressure from competitors yet again, his health had failed several times, and he had gone broke. And yet, he still soldiered on, fighting the inevitable decline of the Alessandro Scarlatti model of opera, the only creative world he knew and the only means, he thought, of sustaining him financially. By contrast, the previous decade of the 1720s had been a tremendous boon for Handel. With Giulio Cesare, Tamerlano and Rodelinda he had scaled incredible commercial and artistic heights, advancing the expressive range of opera considerably. Handel had found innovative ways to extend the focused, dramatic intent of an aria, even if plot had been reduced to a level of secondary importance, often beguiled by bizarre twists. Yet this was also a time when opera productions had begun to collapse under the weight of salary demands from its star singers with associated staging costs ever rising. Arias had become long and overly decorous, virtuosity had overruled art, and the arbiters of public taste, both patrons and audience, had grown tired of it all. That's when John Gay fired the first salvo against Handel and opera seria. The Beggar's Opera (1728) used common English words and music hall type song often set to derisive lyrics saturated with anti-high art sentiment to signal the beginning of the end of the old opera seria order and this cost 20

CANADIAN OPERA COMPANY 2016/2017

Handel dearly. People flocked to it, considerably reducing the composer's Haymarket theatre audiences. Handel's Royal Academy went out of business.

his harmonies and textures, the overall structure became longer and more elaborate, comprised of large blocks of musical time.

The 1730s also ushered in a new operatic phenomenon that would prove to be one of the greatest and most durable hits of the entire century—a story set 90 times to a libretto by the era's greatest operatic plot maestro, Metastasio. It was called Artaserse, and recounted the tale of an assassination attempt against King Artaxerxes of Persia. The opera was a smash hit in any of its multiple versions, especially its very first incarnations by Leonardo Vinci and Johann Adolph Hasse, filled as they were with many musical novelties that bolstered a lurid plot of attempted regicide pitting love against duty.

Furthermore, Artaserse carried the careers of many stars, notably the great virtuoso castrato Farinelli, to prominence. The London pasticcio performance version set to songs by composers such as Hasse, Ariosti and Porpora was sponsored by Handel's greatest competitor, the Opera of the Nobility, who had wooed Farinelli as the company's franchise star. His singing often gave way to unbridled adulation, with one woman crying out “One God, one Farinelli!” at the end of a particularly acclaimed performance.

But something changed in the 1730s. With Handel’s responses to the Artaserse phenomenon we see a new kind of expression coming from the composer. Vinci's take on the Artaserse plot pushed opera beyond simpler models explored by Scarlatti in previous decades. While managing to simplify

When Handel re-founded the (second) Royal Academy of Music, he needed a viable commercial and artistic response, and respond he did. In 1735, he created two of his most ambitious musical masterpieces in the opera seria genre, Ariodante and Alcina. To combat Opera of the Nobility's Farinelli, Handel countered with his own marquee star singer, the remarkable virtuoso castrato Carestini, himself a singer of considerable range and vocal acrobatic talents, to take on the title role of the prince Ariodante. Further, in response to the longer sections of sustained musical time found in Artaserse, it is thought that Handel in turn made his operas longer too, albeit remaining rooted in the old da capo aria tradition [opening “A” section followed by a contrasting “B” section, completed by a repeat of “A”].

Patricia Petibon as Ginevra and Luca Tittoto as the King.

Handel seemed to set himself the task of creating more novel ways to compose in A-B-A form, demanding excruciating virtuosity from his singers, sure to impress the audience. And as a composer and a businessman, he had to find the best way to please his audiences. When we think of the process of how operas are mounted and performed today, we believe in a hierarchy of sorts in which the composer and librettist reign supreme followed by the director and creative team, and very often lastly the performers themselves. Patrons and audiences are not given top consideration unless a composer states explicitly that the goal is to create a

populist theatre piece. Regardless, the placement of composer at the top of the artistic pyramid is a Romantic-era/ Modernist model of how art tends to be created in the opera house today. In Handel's time, the flow proceeded very differently, beginning with the royal patron first, moving to audience taste second, singers' demands third and the librettist fourth. Placing distantly behind them all was the composer, whose impossible job was to try to please everyone. But something changed in the 1730s. With Handel's responses to the Artaserse phenomenon we see a new kind of expression coming from the

composer. The dramatic complexity of the sorceress Alcina for example, and the greater depth of character development demonstrated by her futile passions was beginning to become a hallmark of opera long before the reforms of Gluck and the innovations of Mozart. Equally important was the tremendous range of emotion Handel composed for his lead character Ariodante, as evidenced in his remarkable aria with bassoon obbligato, “Scherza infida.” Or, how about Handel's deft depictions of Ginevra's emotional struggles with the loss of her betrothed Ariodante, to say nothing of the musical originality to be found in their Act I love duet, “Prendi, prendi da questa mano”? CANADIAN OPERA COMPANY 2016/2017

Music was moving beyond the simple portrayal of one emotion throughout an aria or an entire opera—known as affect—to something more emotionally nuanced. Handel, it seems, was starting to please himself more as a creative artist, while straddling the commercial line of pleasing his audiences. One essential reason why this production of Ariodante is set in a 1960s seaside town of Scottish heritage has to do with our contemporary response to the composer’s artistic development in the 1730s. Handel was forced to find new paths to musical expression that were driven by librettist and audience demands. Likewise, in our time, we respond to such developments in the composer's artistic life with scenarios that can more appropriately illuminate the human drama Handel sought to innovatively illustrate in his music. We often modernize and update operas because, in some sense, we are frequently forced to do so, not

for the sake of novelty, but because the composer's own internal creative development demands a similar, creative response from our directors and production teams. Handel truly rose to the occasion with sublime music in Ariodante, a new path for him to tread, trying out what he needed to stay in business, while still planting another foot firmly in the past glories of a medium that was already beginning to change faster than the composer was fully prepared to acknowledge. But Handel eventually would find a solution. Within a few years of Ariodante he had stopped writing opera and began composing great oratorios such as Messiah. And the rest, as they say, is history. Stephan Bonfield is a frequent speaker at the COC and other opera companies across Canada and is the opera and ballet critic for The Calgary Herald and Edmonton Journal.

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OPERA INSIGHTS

COC 365

Opera Insights features big conversations and interactive events that take participants inside the operas of the Canadian Opera Company’s 2016/2017 season.

ARIODANTE BOOTCAMP! Friday, October 14: 7 – 8:30 p.m. Gain an exclusive glimpse at what it takes to bring an opera to the stage when COC Music Director Johannes Debus prepares the young artists of the COC Ensemble Studio for roles they are understudying in Handel’s Ariodante.

BAROQUE STYLE: HANDEL’S ARIODANTE Thursday, October 20: 7 – 8:30 p.m. Take a trip back in time to 18th-century London with COC Orchestra violinists Paul Zevenhuizen and Liz Johnston, joined by musicologist and COC speaker Stephan Bonfield, as they discuss and perform works by the greatest opera composer of the Baroque era: Handel. RESERVE YOUR PLACE AT THESE FREE EVENTS AT

coc.ca/OperaInsights 22

CANADIAN OPERA COMPANY 2016/2017

More About Handel Handel’s phenomenal career might never have happened. Born in Halle, Prussia, he was discouraged by his parents from studying music. However his father’s employer, the Duke of Saxe-Weissenfels, overheard the nine-year-old Handel playing the organ, and persuaded his parents to give him a musical education. In 1703, 18-year-old Handel moved to Hamburg to work at the opera house as a violinist. His first opera, Almira, was mounted the following year and was a great success. Handel never looked back. He travelled extensively through Italy, familiarizing himself with the Italian style of operas and church music, reaching London in 1710. Handel was to present the first real Italian opera written for London and performed by Italians: Rinaldo premiered in 1711 and was a sensation. He continued to compose more operas to mixed success but was also writing church music. Water Music premiered in 1717, and, in the same year, he wrote 11 anthems and two dramatic works, Acis and Galatea and Esther. In 1719, Handel was appointed the musical director of the newly founded Royal Academy of Music, for which he wrote a dazzling series of operas: Rodelinda, Giulio Cesare, Ottone, and Admeto, but he lost his position when the academy closed in 1728 due to lack of funds. In 1729, he launched a series of opera seasons at the King’s Theatre. Works included Acis, Orlando, Ariodante and Alcina. In 1741, Messiah premiered in Dublin and Handel stopped composing operas. This may have been related to British audiences’ growing desire for English-language works. From then on, Handel’s work comprised English-language oratorios, (including Semele, Samson, Belshazzar, and Judas Maccabaeus), orchestral works, and revivals of his many operas. When Handel died in London on April 14, 1759, he was buried in Westminster Abbey.

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Credits: (left) Jean-Philippe Fortier-Lazure in the Richard Bradshaw Amphitheatre, photo: Karen E. Reeves. (bottom, l-r) Ensemble Studio Competition First Prize and Audience Choice Award winner Emily D’Angelo, Centre Stage 2015, photo: Michael Cooper; A scene from the Ensemble Studio performance of The Barber of Seville, 2015, photo: Michael Cooper; Emily D'Angelo with Rashaan Allwood (on piano) in the Richard Bradshaw Amphitheatre, photo: Karen E. Reeves

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VPS96277

39782A (05/2015)

BIOGRAPHIES: NORMA

DEREK BATE

AVIVA FORTUNATA

MARILYN GRONSDAL

SANDRA HORST

DIMITRY IVASHCHENKO

Assistant Conductor

Clotilde

Assistant Director

Chorus Master

Oroveso

(Toronto, ON)

SELECT COC CREDITS: Carmen, Siegfried, Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Tancredi e Clorinda (2015); Conductor, Don Quichotte (2014); Conductor, Carmen (1979) RECENT: Conductor, The Student Prince (Toronto Operetta Theatre [TOT]) UPCOMING: Götterdämmerung, Louis Riel (COC); Conductor, The Pirates of Penzance (TOT)

Soprano (Calgary, AB)

SELECT COC CREDITS: The Countess, The Marriage of Figaro (Ensemble Studio performance [ENS], 2016); Annina, La Traviata (2015); Berta, The Barber of Seville (2015); Helmwige, Die Walküre (2015); Fiordiligi, Così fan tutte (ENS, 2014) ADDITIONAL CREDITS: Song Prize Finalist in 2015 BBC Cardiff Singer of the World; Finalist, Operalia Competition, 2016

(Toronto, ON)

SELECT COC CREDITS: Maometto II, Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Tancredi e Clorinda, (2015); Associate Director, Siegfried (2016); Director, La Bohème (2009)

SELECT COC CREDITS: Carmen, Maometto II, The Marriage of Figaro (2016); La Traviata, Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Tancredi e Clorinda (2015)

RECENT: Co-director, Madama Butterfly (Saskatoon Opera [SO])

RECENT: Conductor, The Machine Stops and Paul Bunyan (UofT Opera)

UPCOMING: Director, La Cecchina (The Glenn Gould School); Assistant Director, Götterdämmerung, Tosca (COC); Director, Don Giovanni (SO)

UPCOMING: The Magic Flute, Götterdämmerung, Louis Riel, Tosca (COC)

ISABEL LEONARD

JESSICA JAHN

DAVID KORINS

JENIFER KOWAL

Costume Designer

Set Designer

Stage Manager

(New York City, NY, USA)

COC DEBUT

RECENT: Maria Stuarda (Seattle Opera); The Crucible (Glimmerglass Festival); The Manchurian Candidate and Carmen (Minnesota Opera)

RECENT: Hamilton, Dear Evan Hansen, Misery and Motown the Musical (Broadway); Bel Canto (Lyric Opera of Chicago); Grease: Live (FOX Television); Mary Magdalene (San Francisco Opera); Oscar (Santa Fe Opera)

UPCOMING: Dead Man Walking (Washington National Opera); Moby Dick (Utah Opera)

(Toronto, ON)

(Thornhill, ON)

SELECT COC CREDITS: Maometto II, The Marriage of Figaro (2016); Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Tancredi e Clorinda, Bluebeard’s Castle/Erwartung (2015) RECENT: ATG’S Messiah (Against the Grain Theatre) UPCOMING: Tosca (COC)

ADDITIONAL: Director of Musical Studies at UofT Opera

Mezzo-soprano (New York City, NY, USA)

Adalgisa

COC DEBUT: Sesto, La clemenza di Tito (2013) RECENT: Cherubino, The Marriage of Figaro and Rosina, The Barber of Seville (Metropolitan Opera [Met]); Ada Monroe, Cold Mountain (Santa Fe Opera and Opera Philadelphia); Angelina, La Cenerentola (Lyric Opera of Chicago) UPCOMING: Rosina, The Barber of Seville (Wiener Staatsoper); Charlotte, Werther (Met and Teatro Comunale di Bologna)

Bass (Novosibirsk, Russia)

COC DEBUT: Hunding, Die Walküre (2015) RECENT: Vodnik, Rusalka (Opéra Bastille); Ivan Chovanski, Khovanshchina (Dutch National Opera); Sparafucile, Rigoletto (Metropolitan Opera) UPCOMING: Daland, The Flying Dutchman (Teatro Real de Madrid); The Four Villains, The Tales of Hoffmann (Komische Oper Berlin); Osmin, The Abduction from the Seraglio (Semperoper Dresden)

STEPHEN LORD (Bolton, MA, USA)

Conductor

COC CREDITS: A Masked Ball (2014); Lucia di Lammermoor (2013); Norma (1998) RECENT: Norma (English National Opera); Macbeth (Michigan Opera Theatre [MOT] and Opera Theatre of St. Louis); La Rondine (Opera Theatre of St. Louis) UPCOMING: La fanciulla del West (MOT); La Traviata (San Diego Opera)

ADDITIONAL: Two-time Grammy Award winner, Best Opera Recording (2016 and 2013)

CANADIAN OPERA COMPANY 2016/2017

KEVIN NEWBURY (Brooklyn, NY, USA)

Director

COC DEBUT RECENT: Eugene Onegin (Portland Opera); Fellow Travelers (Cincinnati Opera); Maria Stuarda (Seattle Opera); Bel Canto (Lyric Opera of Chicago); The Good Swimmer (Prototype Festival); O Columbia (Houston Grand Opera) UPCOMING: The (R)evolution of Steve Jobs (Santa Fe Opera); Bhutto (Pittsburgh Opera); The Perfect American (Long Beach Opera and Chicago Opera Theatre) ADDITIONAL: Stag and Monsura is Waiting (short films)

SONDRA RADVANOVSKY

Soprano (Caledon, ON)

Norma

COC CREDITS: Elisabetta, Roberto Devereux (2014); Aida, Aida (2010) RECENT: Elisabetta, Roberto Devereux and title roles in Anna Bolena and Maria Stuarda (Metropolitan Opera); Aida, Aida (Opéra national de Paris); Tosca, Tosca (Bayerische Staatsoper) UPCOMING: Manon Lescaut, Manon Lescaut (Royal Opera House); Norma, Norma (Lyric Opera of Chicago); Tosca, Tosca (Los Angeles Opera); Amelia Grimaldi, Simon Boccanegra (Opéra de Monte-Carlo); Amelia, A Masked Ball (Opernhaus Zürich)

CHARLES SY

RUSSELL THOMAS

Flavio

Pollione

Tenor (Toronto, ON)

Tenor (Miami, FL, USA)

COC CREDITS: Condulmiero, Maometto II (2016); Gastone, La Traviata (2015)

COC CREDITS: Hoffmann, The Tales of Hoffmann (2012); Don José, Carmen (2016)

RECENT: Adolfo, La Rondine (Opera Theatre of Saint Louis); Mr. Owen, Postcard from Morocco (UofT Opera); Tamino, The Magic Flute (Chautauqua Institution and Hawaii Performing Arts Festival)

RECENT: Florestan, Fidelio (Cincinnati Opera); Stiffelio, Stiffelio (Oper Frankfurt); Pollione, Norma (Los Angeles Opera [LAO]); Turiddu, Cavalleria rusticana (Deutsche Oper Berlin)

UPCOMING: First Priest, The Magic Flute and Ambroise Lépine, Louis Riel (COC)

UPCOMING: Ismaele, Nabucco (Metropolitan Opera); Pollione, Norma (Lyric Opera of Chicago); Cavaradossi, Tosca (LAO)

CANADIAN OPERA COMPANY 2016/2017

DUANE SCHULER (Seattle, WA, USA)

Lighting Designer COC CREDITS: Maometto II (2016); Rigoletto (2011); The Italian Girl in Algiers (2003) RECENT: Don Pasquale and The Makropulos Case (San Francisco Opera); Béatrice et Benedict (Glyndebourne); Don Pasquale and La donna del lago (Metropolitan Opera [Met]); Count Ory (Seattle Opera) UPCOMING: Cendrillon and Fidelio (Met); Die Fledermaus (Santa Fe Opera); Norma (Lyric Opera of Chicago)

ELZA VAN DEN HEEVER

Soprano (Johannesburg, South Africa)

Norma

COC DEBUT: Leonore, Il Trovatore (2012) RECENT: Elisabetta, Maria Stuarda (Metropolitan Opera [Met]); Suor Angelica, Suor Angelica and Giorgetta, Il tabarro (Oper Frankfurt [OF]); Elisabetta, Don Carlo (Opéra National du Rhin) UPCOMING: Elettra, Idomeneo re di Creta (Met); Norma, Norma (Dallas Opera); Ellen Orford, Peter Grimes (Wiener Staatsoper); Elvira, Ernani (OF)

COC 365

INTRODUCING OUR INTERACTIVE WALL This fall the COC unveils the addition of a 98” interactive digital multi-media wall to the Four Seasons Centre. The COC collaborated with BT/A Advertising and Cineplex Digital Media to create this exciting initiative to enliven the lobby area during performances and create an opportunity for patrons to learn about the company and season programming through video trailers, social media feeds and trivia applications. Located under the Grand Staircase in the Isadore and Rosalie Sharp City Room, the interactive wall goes live on opening night of Norma, and new applications will be added over the course of the season, so come by and see how your experience can be enriched!

Even Bellini wasn’t safe from the W.S. Gilbert Treatment Before beginning his partnership with Arthur Sullivan, W. S. Gilbert (of the famed Gilbert and Sullivan operettas) wrote a series of opera burlesques spoofing mainstream works of the 19th century. His version of Norma is The Pretty Druidess (1869). In it, the priestesses are setting up a typical English church bazaar; Norma sips a cup of tea, her “customary fluid,” and turns pages of the Daily Druid; Oroveso has forgotten who he is and is searching for his calling cards in order to find his own identify and Adalgisa is the soprano; everyone jumps in the fire confessing that they have all married Romans; Oroveso discovers he is, in fact, Julius Caesar in disguise and married to Adalgisa. Apparently, it was very well received!

CANADIAN OPERA COMPANY 2016/2017

BIOGRAPHIES: ARIODANTE

VARDUHI ABRAHAMYAN WALTER ALTHAMMER Mezzo-soprano (Yerevan, Armenia)

Polinesso COC DEBUT

RECENT: Carmen, Carmen (Staatsoper Hamburg and Bolshoi Theatre); Malcom, La donna del lago (Rossini Opera Festival); Ascanio, Benvenuto Cellini (Teatro dell’Opera di Roma); Dalila, Samson et Dalila (Palau de les Arts, Valencia) UPCOMING: Carmen, Carmen (Opéra national de Paris and Teatro Massimo di Palermo); Bradamante, Alcina (Opernhaus Zürich); Olga, Eugene Onegin (Opéra national de Paris)

(Berlin, Germany)

Assistant Conductor COC DEBUT RECENT: Fidelio (Teatro Real); Iphigénie en Tauride (Grand Théâtre de Genève [GTG]); Das Rheingold (Ruhrfestspiele); Conductor, L’Isola Disabitata (Rheingaufestival) UPCOMING: Elektra, Tristan und Isolde (L’Opéra de Lyon); Cosí van tutte (GTG); Conductor, Cendrillon (Dutch National Opera Academy)

JANE ARCHIBALD

NICK BARNES

AMBUR BRAID

Ginevra

Puppetry Designer

Dalinda

Soprano (Truro, NS)

SELECT COC CREDITS: Susanna, The Marriage of Figaro (2016); Donna Anna, Don Giovanni (2015); Semele, Semele (2012, 2014 Brooklyn Academy of Music tour) RECENT: Zerbinetta, Ariadne auf Naxos (Royal Opera House, Covent Garden); Konstanze, The Abduction from the Seraglio (L’Opéra de Lyon, Théâtre des Champs-Elysées and Festival d’Aix en Provence) UPCOMING: Donna Anna, Don Giovanni (Theater an der Wien); Zerbinetta, Ariadne auf Naxos (Bayerische Staatsoper)

LUCY BURGE

FINN CALDWELL

ALICE COOTE

Choreographer

Puppetry Director/ Designer

Ariodante

(London, England) COC DEBUT

RECENT: Ariodante (Dutch National Opera/Féstival Aix-en-Provence); Gianni Schicchi (Royal Opera House, Covent Garden); A Midsummer Night’s Dream (Hyogo Arts Centre, Japan); Rusalka (Scottish Opera); La Fanciulla del West (Santa Fe Opera)

(London, England)

COC DEBUT RECENT: Running Wild (Regent’s Park Open Air Theatre/Chichester Festival Theatre); The Lorax (Old Vic); The Light Princess (National Theatre); War Horse (Puppeteer/Associate Puppetry Director – National Theatre/ International). As Director: Lardo (Old Red Lion) and The Elephantom (Co-director – National Theatre & West End). UPCOMING: The First Hippo on the Moon (Co-director/Co-designer – Les Enfants Terrible UK Tour); The Grinning Man (Bristol Old Vic) ADDITIONAL: Co-Artistic Director, Gyre & Gimble

CANADIAN OPERA COMPANY 2016/2017

Mezzo-soprano (Cheshire, England) COC CREDITS: Dejanira, Hercules (2014); The Composer, Ariadne auf Naxos (2011) RECENT: Octavian, Der Rosenkavalier (Lyric Opera of Chicago); The Composer, Ariadne auf Naxos (Bayerische Staatsoper and Théâtre des Champs-Elysées [TdCE]); Dejanira, Hercules (Barbican Hall, Theater an der Wien and TdCE) UPCOMING: Idamante, Idomeneo re di Creta (Metropolitan Opera); Octavian, Der Rosenkavalier (Royal Opera House, Covent Garden)

(Hove, England) COC DEBUT

RECENT: Madama Butterfly (Metropolitan Opera, English National Opera); The Magic Flute (Bregenzer Festspiele); Running Wild (Regent’s Park Open Air Theatre/Chichester Festival Theatre); The Lorax (Old Vic Theatre) UPCOMING: The Tempest (Birmingham Royal Ballet); First Hippo on the Moon (Les Enfants Terrible)

BENJAMIN DAVIS (Cardiff, Wales)

Associate Director COC DEBUT: Assistant Director, Otello (2010) RECENT: Revival Director, Gianni Schicchi (Royal Opera House, Covent Garden); Carmen (Scottish Opera); Queen of Spades (Teatro dell’Opera di Roma); Director, Sir John in Love (Royal Conservatoire of Scotland); Così fan tutte (Welsh National Opera) UPCOMING: Revival Director, Khovanshchina (Welsh National Opera); Director, Written on Skin (Mahler Chamber Orchestra semistaged European tour)

Soprano (Terrace, BC) SELECT COC ROLES: Adele, Die Fledermaus (2012); Stella, The Tales of Hoffman (2012); Amore, Orfeo ed Euridice (2011) RECENT: Queen of the Night, The Magic Flute (English National Opera and Calgary Opera); Anne Truelove, The Rake’s Progress (Teatro de São Carlos); Konstanze, The Abduction from the Seraglio (Opera Atelier); Violetta, La Traviata (Arizona Opera) UPCOMING: Queen of the Night, The Magic Flute (COC)

JOHANNES DEBUS COC Music Director (Berlin, Germany/Toronto, ON)

Conductor

SELECT COC CREDITS: Siegfried and The Marriage of Figaro (2016); Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Tancredi e Clorinda (2015); War and Peace (2008) RECENT: The Tales of Hoffmann (Bregenz Festival); The Cunning Little Vixen (Oper Frankfurt); The Marriage of Figaro (Komische Oper Berlin); Engagements with the National Arts Centre Orchestra, San Diego Symphony, Cleveland Orchestra, Houston Symphony, BBC Philharmonic, and Aspen Music Festival UPCOMING: Salome (Metropolitan Opera); Götterdämmerung and Louis Riel (COC)

ONE NATION UNDER THE ARTS

We live in a country with a rich and deep appreciation for arts and culture, and weâ&#x20AC;&#x2122;re committed to fund programs that enable Canadians of all means and backgrounds to enjoy the very best. Proud Presenting Sponsor of the new Share the Opera program at the Canadian Opera Company and proudly Canadian.

ALLISON GRANT

SANDRA HORST

RICHARD JONES

STEPHANIE MARRS

OWEN MCCAUSLAND

Assistant Director

Chorus Master

Director

Stage Manager

Lurcanio

(Toronto, ON)

SELECT COC CREDITS: The Marriage of Figaro (2016); Revival Director, Semele (Brooklyn Academy of Music, 2015), The Barber of Seville (2015); Choreographer, Die Fledermaus (2012); Choreographer/ Assistant Director, The Queen of Spades (2002) RECENT CREDITS: Director, The Hobbit (Canadian Children’s Opera Company); Director/Choreographer, Company (Music Theatre on the Thames); Director, The Magic Flute (Hawaii Opera Theatre); Director/ Choreographer, Le nozze di Figaro (Sarasota Opera); Die Fledermaus, The Barber of Seville (Edmonton Opera); Romeo et Juliette, Così fan tutte (Vancouver Opera)

(Toronto, ON)

SELECT COC CREDITS: Carmen, Maometto II, The Marriage of Figaro (2016); La Traviata, Pyramus and Thisbe with Lamento d’Arianna and Il combattimento di Tancredi e Clorinda (2015) RECENT: Conductor, The Machine Stops and Paul Bunyan (UofT Opera) UPCOMING: The Magic Flute, Götterdämmerung, Louis Riel, Tosca (COC) ADDITIONAL: Director of Musical Studies at UofT Opera

(London, England)

COC DEBUT: The Queen of Spades (2002) RECENT: Boris Godunov (Royal Opera House, Covent Garden); The Mastersingers of Nuremberg and The Girl of the Golden West (English National Opera) UPCOMING: Don Giovanni (English National Opera); La Bohème (Royal Opera House, Covent Garden); Der Rosenkavalier (Tokyo Nikikai Opera Foundation)

(Toronto, ON)

SELECT COC CREDITS: Carmen (2016); La Traviata (2015); Madama Butterfly (2003, 2014); Hercules (2013); Assistant Stage Manager, Siegfried (2016) RECENT: Apocalypsis (Luminato Fesitval); Panamania (Pan Am Games 2015 Arts and Culture Festival) UPCOMING: The Magic Flute, Louis Riel (COC)

AARON SHEPPARD

MIMI JORDAN SHERIN

ULTZ

JOHANNES WEISSER

Odoardo

Lighting Designer

King of Scotland

COC CREDITS: Selimo, Maometto II (2016); Don Curzio, The Marriage of Figaro (Ensemble Studio performance, 2016)

COC DEBUT: The Italian Girl in Algiers, 2003

Set and Costume Designer

Tenor (St. John’s, NL)

RECENT: Fernando, A Little Too Cozy (Against the Grain Theatre); Charlie Whitten, Ours (Opera on the Avalon); Soloist, Lord Nelson Mass (Newfoundland Symphony Orchestra); Kronprinz, Silent Night (Opéra de Montréal) UPCOMING: First Armed Man, The Magic Flute and Middleton/Smith, Louis Riel (COC)

(Seattle, WA, USA)

RECENT Der Rosenkavalier (Deutsche Oper Berlin and Lyric Opera of Chicago); Don Pasquale and La donna del lago (Metropolitan Opera [Met]); The Marriage of Figaro (Seattle Opera) UPCOMING Béatrice et Benedict (Glyndebourne); Don Pasquale and The Makropulos Case (San Francisco Opera); Cendrillon (Met)

CANADIAN OPERA COMPANY 2016/2017

(London, England)

COC DEBUT RECENT Ma Rainey’s Black Bottom (National Theatre); Gloriana, Il tabarro (Royal Opera House, Covent Garden); The River (Royal Court Theatre/Broadway); Mojo (West End); Jerusalem (West End/Broadway); Lohengrin (Bavarian State Opera); Powder Her Face, Cavalleria Rusticana, I Pagliacci (English National Opera); Macbeth, Falstaff (Glyndebourne Festival) SELECT AWARDS AND NOMINATIONS Olivier Award (Best Revival, Ma Rainey’s Black Bottom; Best Set Design, Jerusalem); Tony Award nomination (Best Scenic Design, Jerusalem)

Baritone (Oslo, Norway) COC DEBUT

RECENT: King of Scotland, Ariodante (Opéra de Lausanne); Don Giovanni, Don Giovanni (Opéra Royal de Versailles); Melisso, Alcina (Teatro Real Madrid); Onegin, Eugene Onegin (Kristiansund Opera) UPCOMING: Don Pizarro, Leonore (Theater an der Wien, Festspielhaus Baden-Baden); Baritone, King Arthur (Staatsoper im Schiller Theater Berlin)

Tenor (Saint John, NB)

SELECT COC CREDITS: Testo, Pyramus and Thisbe and Il combattimento di Tancredi e Clorinda (2015); Juan, Don Quichotte and Lord Cecil, Roberto Devereux (2014); Tito, La clemenza di Tito (2013) RECENT: Arturo, Lucia di Lammermoor (Pacific Opera Victoria); Soloist, AtG’s Messiah (Against the Grain Theatre) UPCOMING: Tamino, The Magic Flute (COC)

THE BMO EFFECT WITH ITS BICENTENNIAL ON THE HORIZON, BMO FINANCIAL GROUP IS CONTINUING ITS TRADITION OF BIG INVESTMENT IN THE ARTS On the cusp of its 200th anniversary, BMO Financial Group is taking on an expanded role at the COC as the company’s firstever Season Sponsor. This significant commitment continues a remarkable history of philanthropic support that dates back more than 50 years. As the COC has elevated its artistic standards over that time, launched signature projects and initiatives, and built a world-class opera house that ushered in a new era of possibilities, BMO has been there at each step, providing vital funding, advocacy, and support. The activities made possible by BMO over those decades span all areas of the company’s work, including education and outreach programming, such as Pre-Performance Chats and Dress Rehearsals for school groups and young people; Ensemble Studio training activity; special events and major projects; the Capital Campaign to build the Four Seasons Centre for the Performing Arts; and, of course, milestone productions such as Kaija Saariaho’s Love from Afar (2012), Wagner’s Tristan und Isolde (2013), and Verdi’s Falstaff (2014) were realized thanks to BMO’s critical leadership and support. “We have always been motivated by the artistic excellence and positive impact that the COC brings to its community, both in the Toronto-area and beyond,” says Nada Ristich, Director of Corporate Donations at BMO. “In 2016, we’re more excited than ever to continue supporting the COC in its vision of working with the best international and Canadian artists to create live opera that is second to none.” As BMO approaches its bicentennial celebrations in 2017—and gets ready to mark the country’s sesquicentennial the same year—Canada’s first bank is unwavering in its commitment to the arts, including investment in leading-edge, multidisciplinary projects. BMO signed on, for example, as Presenting Sponsor of Cité Mémoire, an ongoing media work consisting of multi-surface projections in Montreal’s historic district and featuring some 20 tableaux related either to a period in Montreal’s history or to a particular theme. Incidentally, the collaborative project features the work of author Michel Marc Bouchard, who is also the librettist of the COC-commissioned opera La Reine-Garçon (scheduled for the 2019/2020 season), based on his own play of the same name, with music by composer Ana Sokolovic.

For more than five decades BMO has been a committed supporter of the COC’s activities, including education and outreach programming. Left: children attend a performance of a COC production in the early days at the O’Keefe Centre, 1960s; right: students pose at the top of the Grand Staircase prior to a BMO Financial Group Student Dress Rehearsal, 2014.

In addition to major support of the Capital Campaign to build the opera house, BMO stepped up as the Presenting Sponsor of the Inaugural Gala Concert that marked the opening of the FSCPA. Here Gerald Finley, Aline Kutan, Ben Heppner, Richard Bradshaw, Adrianne Pieczonka, and Brett Polegato take a bow after the concert in 2006.

As production underwriter and sponsor, BMO has helped realize important artistic work that pushes the boundaries of the art form and the company. A scene from Tristan und Isolde in 2013. CANADIAN OPERA COMPANY 2016/2017

OC BACKSTAGE AND BEYOND! C 365 Here is a look at some of our recent activities, many shared with our wonderful COC donors, including parties, galas, and backstage meet-and-greets with artists. 1

[1] We had a long winter this year, but the heat and passion of our highly successful production of Carmen helped usher in a reluctant spring. The cast, creative team, donors and COC staff gathered after the opening performance to enjoy a toast and [2] a selfie or two! [3] A couple of weeks later we celebrated opening night of

Rossini’s rarity, Maometto II. Bass-baritone Luca Pisaroni (Maometto) is photographed with mezzo-soprano Leah Crocetto (Anna) and Rossini scholar and conductor Hans Schellevis, who participated in our Opera Insights event, “Rossini Reconstructed.”

[4] Director David Alden together with Alexander Neef offered President’s Council members an in-depth discussion of his creative 32

CANADIAN OPERA COMPANY 2016/2017

process and how Rossini’s nearly forgotten masterpiece, Maometto II, was unearthed for modern audiences. The Opera Insider Chat preceded a viewing of the production-in-progress, giving our donors an exclusive opportunity to encounter the opera as it was readied for the stage.

[5] Prior to the 2016 Governor General’s Awards in Ottawa, COC

Board Chair Colleen Sexsmith (front right) hosted a dinner at the Chateau Laurier Hotel in honour of GG recipient Ben Heppner. Accompanied by his wife Karen (centre), Mr. Heppner was feted by many members of the COC community who made the trip to the capital.

[6] You meet the best people when you travel! COC media

relations manager Jennifer Pugsley got together with Ensemble alumna and mezzo-soprano Rihab Chaieb at the Met in New York.

14 15

[7-8] As we wrapped up last season, we invited our generous

donors to a special behind-the-scenes event in May, featuring members of the Ensemble Studio training program. Hosted by CBC Radio personality Brent Bambury (not pictured) the event offered an inside look at what goes on during a coaching session, and included an audience-led Q&A panel with Ensemble Studio Head Liz Upchurch and the young artists and their mentors.

[9-10] At the companyâ&#x20AC;&#x2122;s annual Season Closing Party, supporters gathered to enjoy cocktails and refreshments surrounded by the lush greenery of the Max Tanenbaum Courtyard. Guests enjoyed a performance by tenor Jean-Philippe Fortier-Lazure and baritone Iain MacNeil, both graduating Ensemble Studio members. [11] As part of their membership experience, COC supporters were treated to an exclusive, surprise performance by tenor Russell Thomas (Pollione in Norma) at the companyâ&#x20AC;&#x2122;s Season Opening Party, which also featured a musical showcase of our new Ensemble Studio members. [12] In April, Encore Legacy members were invited to an

In Conversation event featuring two Ensemble Studio graduates: mezzo-soprano Janet Stubbs (far left, a member of the original ES cohort) and soprano Simone Osborne (far right, a 2012 graduate).

Interviewed by Director of the Ensemble Studio Nina Draganic (centre), Janet and Simone discussed their time in the Ensemble and shared stories from the COC Carmen productions they were personally a part of (1979 and 1984 for Janet, and 2010 and 2016 for Simone).

[13] In early September, with the company in back-to-school mood, new and returning members of the Ensemble Studio gathered in the Max Tanenbaum Courtyard for their official portrait. [14-15] This past July, the COC hosted opera camps for young people in grades 1 to 12. A week of intensive learning and exploration in the senior camp culminated in a performance of their own original opera, Diner 80-Styx. [16] Our popular Opera Insights series continued when flamenco dancer Anjelica Scannura taught participants how to strike a Spanish pose at our April 19 Carmen Danza! event.

Visit our website at coc.ca to learn more and get involved in all the COC has to offer!

CANADIAN OPERA COMPANY 2016/2017

passion to production

From

Blakes salutes the beautiful combination of rigour and inspiration that brings art to life. We are proud to sponsor the Canadian Opera Company.

TORONTO

CALGARY

VANCOUVER

MONTRÃ&#x2030;AL

OTTAWA

NEW YORK

LONDON

RIYADH/AL-KHOBAR*

BAHRAIN

BEIJING

Blake, Cassels & Graydon LLP | *Associated Offices | blakes.com

BACKING A WINNING TEAM BY AMY MUSHINSKI

In the last decade the Canadian Opera Company has undergone an extraordinary transformation: what was once a respected national opera company is now an international leader, ranked among the world’s best companies, as well as a destination for top-tier artists and opera-goers from across Canada and beyond. In a cultural sector that has its share of challenges and difficulties, the COC is a remarkable success story not only because of what we’ve accomplished, but how we made it happen.

Our main sources of revenue—ticket sales, fundraising, and government support—continue to be competitively robust, and we added other income streams as part of our commitment to stay flexible and adaptable.

Fortunately, the substantial reserve fund that the COC built up and carefully managed through its Canadian Opera Foundation allowed the company to weather the lasting effects of the worldwide economic downturn, while adjusting our business model and operations with an eye to sustainability. When we built our new home, the Four We reorganized, tightened our belts, Seasons Centre for the Performing Arts, revisited long-held assumptions, and we effectively redefined opera in Canada emerged leaner and stronger: an opera by unleashing the possibilities of a company for the new century. world-class opera house, and we did it by completing the associated $186-million capital campaign in only six years, on time and on budget—a feat virtually unheard of in the Canadian cultural landscape. With the expanded artistic potential of our hall, our operating budget quickly doubled in size and we added venue management to our corporate resume. We experienced a sudden leadership change, yet steered the course, increasing the amount of Establishing the COC as a company artistic activity, including creating a worthy of one of the world’s finest opera second performance stream—the Free Concert Series in the Richard Bradshaw houses was a very clear objective for Alexander Neef when he began his Amphitheatre—and enhanced our tenure at the COC in 2008. And now, the education and outreach programs. We COC is a peer to the very best. managed to do this while navigating the multi-faceted effects of the global Artistically, we partner on a regular financial crisis of 2008 and the basis with renowned companies, such as introduction of the 8% HST hike on the Metropolitan Opera; Royal Opera, tickets sales—barely a season after Covent Garden; Opéra national de Paris; opening our doors. Throughout this Lyric Opera of Chicago; Teatro Real period, we never put the company’s Madrid; Houston Grand Opera; Dutch future at risk.

In a cultural sector that has its share of challenges and difficulties, the COC is a remarkable success story....

National Opera; San Francisco Opera; and Bolshoi Opera. Collaborations with these organizations, and many others, are extraordinarily beneficial to Canadian culture. Through them we export Canadian artistry to the operagoing world, and we import the finest that the art form has to offer to the Canadian public here at home. Opera, performed in this international arena, is expensive, and we thank all our supporters for making it possible: we are extraordinarily grateful for your belief in the COC and your unfailing generosity. You are all stakeholders and partners in Canada’s national company. At this time of renewed discussion about the importance of the arts in Canada, it’s worth imagining what the COC could be if funding consistently matched our artistic and organizational standards, from the tremendous impact we could be bringing to communities across the country, to the breathtaking level of production excellence we could present on our mainstage. We’re already one of the best opera companies in the world, but the moment to build on that success and push even further is now: we’re eager for all our stakeholders to join us in fulfilling the incredible potential of what a national opera company can be in the 21st century. Amy Mushinski is the COC’s Manager of Government Relations CANADIAN OPERA COMPANY 2016/2017

MATTHEW AUCOIN:

DOING WHAT COMES NATURALLY BY VANESSA SMITH This November, the COC Ensemble Studio School Tour will hit the road again, bringing opera to young people across Ontario. This year’s production is Second Nature, by the brilliant young composer (and conductor/writer/pianist) Matthew Aucoin. He has been making waves with his compositions not only for their innovative and sophisticated sound, but also for his age—he just turned 26 this year. We spoke with Matthew to learn more about his career and how composing for young people differs from composing for an adult audience.

This fall, you’ll become the Artist-in-Residence at Los Angeles Opera—tell us a bit more about what this position will entail. What are you most excited about?

I feel like a kid set loose in a candy shop, or possibly a bull in a china shop. Seriously, I feel deeply lucky. My job in LA was created specifically for my artistic personality: I compose and conduct, and typically those two activities are kept rather far apart. This job brings them together. I’ll conduct at least two productions per season, starting with Glass’ Akhnaten this fall, and I’ll compose a full-length, mainstage opera for LA, which will premiere in 2019/2020. We’ll be mounting my other operas—Crossing and Second Nature, plus my vocal chamber music—and I’ll curate a latenight concert series. I’m most excited to help create a warm and welcoming—yet also adventurous—atmosphere in the opera house. I do not want, in the words of the poet D.A. Powell, to "bring comfort to the comfortable.” I want to go out into the city of Los Angeles—to the neighborhoods far from downtown—and reach people through the power of opera, and I hope to make the opera house itself a hub for musical and theatrical experimentation and adventure. What has been the highlight of your career so far?

Well, for a composer, the most exciting events occur between the pen and the paper—so they’re hard to describe! But I remember certain transcendent moments when we were rehearsing my opera Crossing in Boston. I have mixed feelings about that piece, as I do about all my pieces, but it was thrilling to see my amazing colleagues—the baritone Rod Gilfry, the director Diane Paulus—bringing my music into the air. I also recall a concert I conducted with the Los Angeles Philharmonic in the Inglewood neighborhood of LA last year. That got me even more excited about the outreach work I hope to do with LA Opera. 36

CANADIAN OPERA COMPANY 2016/2017

What was your first experience with opera?

I caught the opera bug early on. I heard a CD of Mozart’s Le nozze di Figaro when I was seven or eight, and I was hooked. Why did you write an opera for young people?

Most operas, I think, speak to something very young in us—something primal. This is true both of operas that are palpably youth-friendly, like The Magic Flute, and operas that aren’t, like Verdi’s works, which engage with the human psyche at a deep, pre-conscious level, even an animal level. Opera is very good at this deep, direct form of communication, and it’s something kids can certainly feel if it’s done right. Because of this, certain kid-friendly forms are well-suited to opera: fairy tale, parable, myth. So when the folks at Lyric Opera of Chicago asked if I wanted to write an opera for the young, I leapt at the opportunity. How is writing opera for youth different than writing for adults?

Frankly it’s not so different. Just leave out the profanity and the nudity! Otherwise, I find that kids are sometimes more open-minded about opera than adults are. They’re much less likely to complain that my music doesn’t sound like Puccini. Why is it important that we expose young people to opera? And do you feel it’s best to do that with the classics or with new work written specifically for them?

Opera’s great virtue is not its grandeur but rather its intimacy. In the 21st century, everything is available at the click of a mouse—except for the power of unamplified human music, which must be experienced live. Opera, and classical music more generally, are physical and spiritual reminders that we are mortal, that we’re here, that we’re flesh and blood; that’s what you feel when you’re in the same room as a great voice. That’s actually what Second Nature is about, too—the

SECOND NATURE Set in a fictional future when humans have retreated from nature because of the deteriorating environment, Second Nature tells the story of two inquisitive and courageous teens who decide to leave the safety of their artificial habitat and work to heal the planet. The COC Ensemble Studio will perform Second Nature in a public performance on Sunday, November 27 at 1:30 p.m. at the Joey and Toby Tanenbaum Opera Centre. To learn more and purchase tickets, visit

coc.ca/OperaforFamilies. danger of accepting virtual realities, and the possibility of being truly present. The ending of Second Nature is left very open—what do Jake and Lydia find after they’ve left the Habitat?

Oh, I’ll leave that to the listener’s imagination! Maybe there should be a sequel. Uh, Third Nature. Vanessa Smith is the COC’s School Programs Manager

Season Launch Sponsor Preferred Credit Card TD ® Aeroplan ® Visa Infi nite Privilege *

“AN EXPERIENCE YOU WON’T FORGET” LEGENDARY CANADIAN TENOR BEN HEPPNER RETURNS AS HOST OF CENTRE STAGE BY JENNIFER PUGSLEY “Soak up every bit of experience you can, and be proud of yourself for getting this far. The Canadian Opera Company has created an amazing opportunity for young Canadian singers through this event, and it is an experience you won’t forget!” says Canadian mezzo-soprano Emily D’Angelo, who was both thrilled and humbled to have been presented with both First Place and the Audience Choice Award at the Ensemble Studio Competition at Centre Stage last November. Welcome words of advice to this year’s finalists, but also an enticing promise of what to expect for the audience watching the action unfold at the Four Seasons Centre for the Performing Arts on November 3, 2016. The significance of the occasion goes beyond the dazzling gala affair accentuated by black-tie attired guests. First and foremost, Centre Stage is an inspiring night to discover and celebrate the next generation of Canadian opera stars. It offers those in attendance a rare glimpse into the early days of a young opera singer’s professional journey as witnesses to an exhilarating vocal showcase of The 2016/2017 Ensemble Studio features an impressive roster of 10 artists. Of its new members, the COC welcomed D’Angelo and the additional top prize winners of the 2015 Ensemble Studio Competition: mezzo-soprano Lauren Eberwein and baritone Bruno Roy. The 2015 competition finalist soprano Samantha Pickett, and two singers who impressed the COC artistic administration during the

CANADIAN OPERA COMPANY 2016/2017

young Canadian singers selected from nationwide auditions. Centre Stage is set against the stunning backdrop of the mainstage of the Four Seasons Centre with the acclaimed COC Orchestra being led by COC Music Director Johannes Debus. Yes, these singers are vying for muchappreciated cash prizes, but also for something of even greater value–a highly coveted invitation to join the COC’s young artist program, the Ensemble Studio. Canada’s premier training program for young opera professionals, the Ensemble Studio is a launching pad to a future international career. A shining example of the glittering operatic path these finalists hope to walk will be there to remind them and gala guests in the form of legendary Canadian tenor, CBC Radio personality and COC Ensemble Studio graduate, Ben Heppner. One of the finest dramatic tenors in the world, Heppner returns to host Centre Stage for the second time since the gala’s launch in 2013 as the COC’s premier fundraiser. “Watching the finalists perform in the vocal competition is the best preliminary auditions, soprano Danika Lorèn and mezzo-soprano Megan Quick, along with pianist Stéphane Mayer also joined the 16/17 Ensemble Studio. Three current members return to the program: tenors Aaron Sheppard and Charles Sy, and pianist Hyejin Kwon. Public performances over the course of the season are exciting opportunities to watch Ensemble Studio members’

thing about being a host for Centre Stage. I can’t tell you how inspiring it is to see these singers go out there and have their moment singing on the stage of a major opera house and move an audience with their voice,” says Ben Heppner. “When I was in the Ensemble, back in the early ‘80s, I didn’t have any experience at all. So this was a time I could gain experience on stage, first in a small kind of way, and then moving on to larger roles. It all starts with that first important audition, though, to set you on your path.” So soak up every bit of the Centre Stage experience. It’s one you won’t forget! Jennifer Pugsley is the COC’s Media Relations Manager

talents grow and develop. From those first steps of auditioning to joining the esteemed training program, this group is poised to take that next step in becoming Canada’s future opera stars.

For tickets and more information, visit

COCCentreStage.ca Top: Mezzo-soprano Emily D’Angelo is congratulated by Alexander Neef on her double win at the 2015 Ensemble Studio Competition

A CELEBRATION OF CANADAâ&#x20AC;&#x2122;S EMERGING

OPERA VOICES

THURSDAY, NOVEMBER 3, 2016

5:30 p.m. Cocktails 6:30 p.m. Competition Hosted by Ben Heppner With the COC Orchestra conducted by Johannes Debus, COC Music Director Join us for an elegant evening featuring the Ensemble Studio Competition

Tickets at COCCentreStage.ca or 416-363-5801 #COCCentreStage

OPERA UNDER 30 SPONSOR

MEET THE GUILDS! If you don’t live in Toronto, there’s a wonderful way to feel closer to the opera scene in Canada, and to the COC in particular. For decades, enthusiastic groups of opera lovers situated outside the GTA, have organized themselves into guilds, for several purposes: to find like-minded people who share their passion for the art form, to encourage their local art scene, to support developing artists, to sponsor the Ensemble Studio School Tour in local schools, and to come together to travel to Toronto and enjoy COC performances! Top left: Students from the University of Western Ontario have received 77 scholarships from the London Guild; four are pictured here in recital. Bottom left: The Muskoka Guild’s sculpture-filled meeting space. Top right: Once a year, guild representatives come to spend a day with COC staff to learn more about upcoming seasons and programming. Bottom right: David Nimmo (second from left) is the main COC contact for guilds and groups and relishes the long-term relationships the company has forged with them.

If you’re in the area, this would be a good time to join the BRANTFORD Opera Guild, as they’re about to celebrate their 40th anniversary! Along with the above activities, Brantford produces a program called “Discover Opera” which is a series of information sessions with guest speakers. They’ve also organized opera tours to Montreal, Quebec City, Chicago, and New York. The KINGSTON Opera Guild has been active for over 30 years. A highlight of their programming is their Operabus trips which bring members to COC performances. The guild holds monthly meetings, often to prepare members for COC performances, but in recent years, the topics have shifted to include such subjects as political correctness in opera, and talks by singers and composers about their work. Socializing and dining take place after the talks. This November the guild will bring a COC Ensemble Studio school tour to town! The LONDON Opera Guild is one of the largest, with 150 members. Each year this very busy organization holds four events featuring speakers and sometimes singers; runs a bus to Toronto for Sunday matinee performances at the COC; purchases tickets for local high school students to see opera performances at Western University, which they support even further with donations and SURTITLESTM sponsorship. Over the years, this guild has awarded 40

CANADIAN OPERA COMPANY 2016/2017

77 scholarships to vocal students at Western, and also donates money to the COC. The MUSKOKA Opera Guild is a relative newcomer, founded in 2006. They have a delightful meeting location, at the Knox Presbyterian Church in Bracebridge, which boasts great audio-visual equipment and a kitchen for refreshments: both are musts for opera lovers! Members welcome speakers to their meetings, explore recordings of many genres of opera, and travel to cinemas locally and in Orillia to enjoy opera broadcasts from the Met and Royal Opera House. They also attend OperaMuskoka and other events together. The SUDBURY Opera Guild has been active for over 40 years! Their monthly meetings centre around operas being presented at the COC or the Met. They award three scholarships annually to Sudbury vocal students, and host two dinners a year, particularly relishing the opportunity to share their enthusiasm for the art form, and swapping notes for visits to COC performances.

TO JOIN A GUILD OR FOR MORE INFORMATION, VISIT

coc.ca/Guilds

Get Inspired by the Arts. The Arts makes us better. It pushes us to develop new perspectives. To see the world in a different light. It inspires us to pursue our own passions. We get so much more back from the Arts than we could ever imagine —that’s why we support the Arts in Canadian communities. Scotiabank is proud to support the Canadian Opera Company’s Children’s Education Programs. Get inspired at www.scotiabank.com/arts

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AN OPEN LETTER FROM JOHANNES DEBUS, COC MUSIC DIRECTOR I want to say thank you to the nearly 1,700 people who participated in our Season-End Matching Campaign back in the spring. Your enthusiasm and generosity made this the most successful matching campaign in the COC’s history! All of us in the orchestra are deeply humbled and touched by your support, and we look forward to honouring your investment by continuing to explore the incredible potential of the operatic repertoire, by discovering the power, nuance, and emotional truth of our art form, and sharing it with you.

1,696

DONORS PARTICIPATED IN THE SEASON-END MATCHING CAMPAIGN

$315,888

THEY RAISED MORE MONEY THAN ANY OTHER COMPARABLE MATCHING CAMPAIGN IN COC HISTORY

The pursuit of artistic excellence on the mainstage goes hand in hand with our commitment to young Canadian artists. And by participating in last season’s campaign, you helped advance our Orchestra Academy program this year, giving emerging Canadian instrumentalists the opportunity to enter into an immersive apprenticeship with the COC Orchestra, and to learn directly from the astonishing artists and professionals who make the COC one of the world’s greatest companies. These are efforts that will strengthen your Canadian Opera Company even further, and on behalf the COC, I extend our gratitude to you for participating in the Season-End Matching Campaign!

These funds support the COC Orchestra, as well as the COC Orchestra Academy, an intensive mentorship program that gives emerging instrumentalists opportunities that include

performing in the Richard Bradshaw Amphitheatre,

CANADIAN OPERA COMPANY 2016/2017

Sincerely,

Johannes Debus Music Director

playing with the COC Orchestra at our annual Season Launch Celebration and a mainstage opening night,

and benefitting from private development sessions with worldleading artists and professionals, such as Christine Goerke.

Proud to support Opera Under 30. We are working together with the Canadian Opera Company to make a difference in our communities.

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The TD logo and other trade-marks are the property of The Toronto-Dominion Bank.

M05234 (0314)

REMEMBERING LOUIS RIEL BY CLAUDINE DOMINGUE

“To be involved with the very first important Canadian opera was a tremendous responsibility, and a great challenge.”

COC 365 44

CANADIAN OPERA COMPANY 2016/2017

There’s no question that the world premiere of Louis Riel in 1967 was a seminal moment in the COC’s storied history. But, after speaking with several of the original collaborators, it became quickly apparent that the production was equally momentous in the lives of the artists who created it. Fifty years after its first performance, these artists speak about it as if it happened just yesterday, with all the joy, apprehension and excitement they must have experienced then. “I think the whole thing; the fact that it was a new work—a Canadian work— with Canadian composer, librettist, conductor and director, and all the Canadian singers, made it really special,” says Leon Major, the original production’s director. Conductor Victor Feldbrill concurs. “To be involved with the very first important Canadian opera was a tremendous responsibility, and a great challenge.” Major and Feldbrill were brought on early to the project while composer Harry Somers and librettist Mavor Moore were still working on the opera. “It was quite an accomplishment, and such a team effort,” says Feldbrill. “Leon, me, Murray Laufer and Marie Day—we were there every moment of the composition as Harry was composing. We got to know the work as it was being created.” All of them speak about the care they took to tell the tale as responsibly as possible. Major says that the entire team worked for over a year on the project. “The research that Murray, Marie, Bernard and I did was extraordinary. We wanted to make sure it was accurate, and we didn’t want to short-change anyone.” Costume designer Marie Day, who, along with her husband set designer Murray Laufer, created the look of the opera, calls the months spent researching Riel’s life and times “an amazing adventure.” They wanted the show to be historically pertinent. “History made Riel out to be a kind of shabby half-breed who probably never had a bath, but we wanted to get him

right. It mattered so much to us.” In the spirit of accuracy Day went so far as giving Turgeon an actual buffalo coat that he wore throughout rehearsals. It was “incredibly hot and heavy and smelly—and he wore it all the time—I don’t know how he did it,” says Day. Wearing a real buffalo coat throughout rehearsals was just one of the ways baritone Bernard Turgeon threw himself into the title role. When he found out he’d been given the part, Turgeon travelled to Saint Boniface, Manitoba and Batoche, Saskatchewan. There he absorbed Riel’s world—the people, the environment, the history— as thoroughly as he could before coming back to Toronto to rehearse. As Major says, “Bernard made that role. He took Louis Riel into his own body. In rehearsal, when I’d go to talk to him, I was talking to Riel not Bernard.” Roxolana Roslak, who sang the role of Marguerite, Riel’s young wife, agrees, “He was so possessed, in the most positive sense, by the character that it was incredible to watch.” And Feldbrill adds, “Bernard was Louis Riel from day one.” For his part, Turgeon admits “it was the greatest, most difficult experience of my life.” But, ever humble, he gives his

Harry Somers wrote much of the music to match the individual singers’ abilities. Early on, as baritone Bernard Turgeon (pictured second from left) remembers, “Harry came to me and asked how high I could go. And I said ‘Let’s not push it, let’s say a G.’ So he wrote it, and there were many, many, many Gs. To this day, when I hear it, I’m not sure how I did that!”

castmate the kudos, “I thought Roxy’s aria [the unaccompanied lullaby, ‘Kuyas’] was the highlight of the evening.” Roslak herself notes that, apart from the technical difficulty of the music, Somers perfectly positioned the lullaby at the beginning of Act III to allow for the greatest impact. “After two acts featuring very tumultuous music and mostly male voices, it was such a beautiful change of pace. Out of the darkness and quiet there’s just… sound.” The lullaby starts as description of the hunt then transitions into a soothing lullaby as Marguerite rocks her infant son to sleep, and by the end is “almost a cry from the heart. Harry was like that; he put the work in the notes and let you discover it yourself.” To a person, all agree that a new COC production is cause for celebration, even if some may have had some initial misgivings. Day admits, “at first, I CANADIAN OPERA COMPANY 2016/2017

The famous lullaby ‘Kuyas’ wasn’t orginally part of the opera. Somers had written it as a test piece for a competition taking place in Montreal in the summer of 1967, but his wife, actress Barbara Chilcott, suggested that he add it into the opera. Left: soprano Roxolana Roslak, who created the role of Marguerite, is pictured here singing this beautiful lullaby.

didn’t want anyone to touch what we did. But now I’m really excited, because we have a whole new generation looking at the story!” As Leon Major enthuses, “I’m just thrilled the COC is doing a new production. It would be a calamity if you tried to do a similar version, or to copy what we did. It was 50 years ago. It would be madness. It would be a throwback. No, no, it has to be now.”

The Canadian Opera Company is the only professional opera company in the world that has ever produced Louis Riel. Canada’s Centennial Commission provided funds to the COC to commission two new operas. One of them, Louis Riel made its world premiere at Toronto’s O’Keefe Centre (now the Sony Centre) on September 23, 1967. It was subsequently produced by the COC again as part of Expo’67 in Montreal, in 1968 at the O’Keefe Centre, and in 1975 with performances at the O’Keefe, the National Arts Centre, and at the Kennedy Center in Washington DC as part of the USA’s bicentennial celebrations. The 1969 televised version created by the CBC is available at Amazon.ca. Victor Feldbrill was conductor of the Winnipeg Symphony when his friend Harry Somers suggested him to General Director Herman Geiger-Torel as conductor. Long respected as a champion of Canadian music, Feldbrill has conducted orchestras and taught at universities around the world and has made a point of including Canadian works in as many concerts as possible. Now 92, the still-very active maestro says, “If I had to pick the single best work and opportunity in my life, it would be Louis Riel.” Award-winning designers Murray Laufer and Marie Day had individually and together worked on 40 productions at the COC (including the 1958 La bohème starring a very young Teresa Stratas) when they were tapped to design Louis Riel. Both are still very active and renowned artists; Day is now a writer and illustrator of children’s books, and Laufer is an artist whose work is represented in the permanent collections of the Art Gallery of Ontario and the Confederation Centre Art Gallery in Charlottetown. You can see their original set and costume designs for Louis Riel at the Toronto Reference Library. At only 34, Leon Major was already a seasoned professional by the time he directed the premiere of Louis Riel in 1967, and the subsequent remounts. He went on to direct many other operas for the COC, as well as at opera and theatre companies across the Americas and Europe throughout his long career. Major is currently the Artistic Director of The Maryland Opera Studio for the University of Maryland. Roxolana Roslak’s career has included many world premieres and career highlights such as her recording of Hindemith’s Marienleben with Glenn Gould. But, the experience of working on Louis Riel was special. “Up until very recently, I still had people come up to me and talk about the opera as if it happened yesterday. That’s wonderful to me!” In addition to singing the title role for every professional production of the opera, Bernard Turgeon’s operatic career has taken him around the world. He also worked many years as a teacher and administrator, developing opera programs across Canada, and is considered the nation’s foremost developer, trainer, consultant and practitioner in the field of Neuro-Linguistic Programming. Claudine Domingue is the COC’s Director of Public Relations

CANADIAN OPERA COMPANY 2016/2017

The Canadian Opera Company presents Louis Riel next spring,in a new co-production with Canada’s National Arts Centre.

LOUIS RIEL IS GENEROUSLY UNDERWRITTEN IN PART BY PHILIP DECK AND KIMBERLEY BOZAK THE ASPER FOUNDATION THE MAX CLARKSON FAMILY FOUNDATION

OPERATAMPA

. 16 17 SEASON

season tickets on sale now! CHARLES GOUNOD’S

ROMEO AND JULIET FRI • JAN 20, 2017 • 8PM SUN • JAN 22, 2017 • 2PM MORSANI HALL GIOACHINO ROSSINI’S

CINDERELLA

DARE. DELIGHT. DEFY. SUN • NOV 6, 2016 Park opens and activities begin at 1:30PM Concert from 3:00-5:00PM

(LA CENERENTOLA) FRI • FEB 10, 2017 • 8PM SUN • FEB 12, 2017 • 2PM FERGUSON HALL GIACOMO PUCCINI’S

TOSCA

FRI • APR 7, 2017 • 8PM SUN • APR 9, 2017 • 2PM MORSANI HALL Thank you to our 16•17 Season Sponsors: Helen Torres Foundation, Dr. Zena Lansky & Mr. Warren Rodgers, Dr. Yi-Hwa Outerbridge & Mr. Felix Cannella, Jr., Charlene & Mardy Gordon, Brad & Mary Ann Morse, Greenberg Traurig, P.A., Charles A. & Faith S. Simmons, Florida Health Care News/Dr. Barry Levine & Gina d’Angelo, Raymond James, Neiman Marcus Media Sponsors: WEDU • Tampa Bay Magazine

In celebration of National Opera Week In partnership with Gasparilla Festival of the Arts

• Free, family-friendly outdoor musical event • Featuring Opera Tampa Singers and visiting Broadway performers Curtis Hixon Park, Downtown Tampa • Popular local food trucks and local chalk artists

STRAZ CENTER IT’S GRAND OPERA AT ITS GRANDEST! Tickets and dining: 813.229.STAR (7827) • Outside Tampa Bay: 800.955.1045 CANADIAN OPERA COMPANY 2016/2017 Group Sales (10+ get a discount): 813.222.1016 or 1047 • OPERATAMPA.ORG Events, days, dates, times, performers and prices are subject to change without notice. Handling fees will apply.

JOIN US

BEFORE OR AFTER THE OPERA FOR

FOOD, DRINK, ART + MUSIC W E ’ R E O N LY S T E P S AWAY ! [at the corner of York + Adelaide]

Pre-Opera Chef’s Menu Every Saturday

Three course menu custom designed by our Chef de Cuisine Jon Pong each week. Includes appetizer, main course and dessert, made with the freshest seasonal ingredients, all for $40* *In by 6:30PM, please notify the host at time of reservation.

CREATING A BETTER DONOR EXPERIENCE For COC members and supporters, the experience of opera extends beyond the mainstage performance to a number of enriching opportunities: connecting with friends and acquaintances who share a passion for the art form, gaining insight into how a production is brought to life, and even celebrating opening night alongside the artists themselves. Yet we are always exploring new ways—both big and small—of showing our appreciation to the vital supporters who make opera possible.

LISTENING TO OUR SUPPORTERS Through personal conversations, surveys, and evaluation of data, we are always striving to better understand which experiences are meaningful to our patrons and how we can better deliver those moments and services. When we learned that it was not always convenient for our Friends members to visit the donor lounge on Ring 3 for hanging up their coat, we responded by extending complimentary coat check privileges on the Lower Lobby of the opera house to all Friends supporters. This season our President’s Council members will enjoy an informal toast with the cast of each production after the opening performance. In previous years we offered only a smaller number of toasts, but made the decision to expand this unique social opportunity to all productions because of the enthusiastic response the events have garnered in recent seasons. Speaking with our members has led us to launch a few other new initiatives as well. We recently introduced digital member cards in the MyCOC App for added convenience, and created a new member update email to help our supporters keep track of all the events and opportunities available to them. Due to positive feedback on our Membership Desk pilot project last season, this desk (at the foot of the Grand Staircase on the Orchestra Level of the FSCPA) will now be a permanent location for membership inquiries and a dedicated space for assisting members with any requests they may have at a performance. We will continue to talk with our supporters about how to make their experience at the opera as rewarding as possible. Please keep an eye out for more announcements about improved member services and benefits emerging from these conversations.

INTRODUCING: THE EMERITUS COUNCIL The COC’s Board of Directors comprises some of the most talented and accomplished people in Canada, representing a diverse number of fields. Every season, they volunteer hundreds of hours, make substantial financial commitments, and share their expertise to drive the company forward. Yet for years, the COC had no explicit recognition program in place for Board Members who had completed their term, and no defined opportunities to carry the relationship forward. That’s about to change as the COC unveils its new Emeritus Council, a program especially designed to maintain our connections with former Board members and to reenergize involvement through a unique slate of engagement events. Chaired by long-time COC supporters Michael Gough and Jack Whiteside—former and current Board members respectively—the Emeritus Council will take a highly personalized approach to member engagement, honouring the former Board members’ relationship with the company and focusing on oneof-a-kind events and learning opportunities.

Emeritus Council Co-Chairs Michael Gough and Jack Whiteside

CANADIAN OPERA COMPANY 2016/2017

HONEY, CHEESE, ART!

COC 365

It's been six years since hundreds of thousands of honeybees came to live and work on the roof of the Four Seasons Centre for the Performing Arts. Under the supervision of beekeeper Fred Davis, the bees produce delicious honey, which has been available for sale all this time at the bars of the Four Seasons Centre. But the product is now expanding. This fall you'll also be able to purchase delicious honey drops created by artisanal candy producer Papabubbles—perfect if you feel a tickle in your throat, but delicious at any time. There's even a lemon-flavoured version. And this past June, the Cheese Boutique launched a new cheese which incorporates our bees' honey. Called “Henry goes to the Opera,” it’s a two-year-old Quebec goat cheddar, rubbed and aged for 90 days in fresh creamed honey. The cheese is available for sale at the Cheese Boutique and will be included in cheese trays available for purchase at the Four Seasons Centre bars. The bees haven't just been creating good food, they also spent a good 18 months assisting in an artistic endeavour which culminated in a sculpture that was displayed as part of last June's Luminato Festival. The sculpture (pictured above) is titled Untilled (Liegender-Frauenakt) and was created by artist

CANADIAN OPERA COMPANY 2016/2017

Pierre Huyghe. The reclining female nude was completed with a beehive engulfing her head and upper torso. Many thanks to Fred and the hundreds of thousands of bees that collaborate to make all this possible! You can keep up with the honeybees—and other news—on our blog, coc.ca/Parlando.

WARM UP THIS WINTER TO THE MAGIC AND MAJESTY OF GREAT OPERA

This winter at the COC, experience the enchantment of Mozart’s fantastical The Magic Flute, and Wagner’s epic Götterdämmerung, the extraordinary conclusion of his monumental Ring Cycle.

TICKETS OR GIFT CERTIFICATES MAKE GREAT HOLIDAY GIFTS!

Tickets start at $35 and subscribers can purchase extra tickets at their already reduced subscription rate.

Visit coc.ca/Tickets or call 416-363-8231 or 1-800-250-4653. CANADIAN OPERA COMPANY 2016/2017

COC BOARD OF DIRECTORS OFFICERS Ms. Colleen Sexsmith, Chair Mr. Justin Linden, Vice-Chair Mr. Paul A. Bernards, Treasurer Mr. John H. Macfarlane, Secretary Mr. Alexander Neef, General Director (ex officio) Mr. Robert Lamb, Managing Director (ex officio) MEMBERS Ms. Yael Woodward Amaral Mr. Tony Arrell

Ms. Nora Aufreiter Ms. Marcia Lewis Brown Ms. Helen Burstyn Mr. Philip C. Deck Mr. Peter M. Deeb Mr. George S. Dembroski Mr. William Fearn Mr. David Ferguson (ex officio) Mr. Michael Gibbens Mr. Peter Hinman Dr. Linda Hutcheon Ms. Carolyn Jarvis Mr. Jeff Lloyd

Mr. Timothy Loftsgard Ms. Anne Maggisano Ms. Judy Matthews Mr. Jonathan Morgan Mr. James (Jim) Nicol Ms. Frances Price Mr. Jeffrey Remedios Mr. J. Allen Smith Mr. Philip S. W. Smith Mr. Paul B. Spafford Ms. Kristine (Kris) Vikmanis Mr. Graham Watchorn Mr. John H. (Jack) Whiteside

CANADIAN OPERA FOUNDATION DIRECTORS Mr. Tony Arrell Mr. Jonathan Bloomberg Mr. J. Rob Collins

Mr. Philip C. Deck, Chair Mr. Christopher Hoffmann

CREDITS AND ACKNOWLEDGMENTS

Ms. Colleen Sexsmith Mr. David Spiro, Secretary

COC OPERA GUILDS

The Canadian Opera Company would like to thank all those who volunteer both on a daily basis and for special events with the company.

Brantford Opera Guild ~ David M. Cullen, President Kingston Opera Guild ~ Grace Orzech, President London Opera Guild ~ Ernest H. Redekop, President Muskoka Opera Guild ~ Dr. Hans Heeneman, President Sudbury Opera Guild ~ Dianne Moore, President

Michael Cooper, Official Photographer

For more information, visit coc.ca/Guilds.

Musical excerpts provided by Universal Classics The COC is a member of Opera America, Opera.ca and TAPA. The COC operates in agreement with Canadian Actorsâ&#x20AC;&#x2122; Equity Association. The COC operates in agreement with I.A.T.S.E., Local #58, Local #822, Local #828.

CANADIAN OPERA COMPANY 2016/2017

SUPERNUMERARIES NORMA: Clara Facchinelli Mark Garron Fabio Hernandez Ward Jardine Nyla Jeffrey Caleb Miller

ADMINISTRATION AND STAFF

Costume Supervisor Sandra Corazza

ALEXANDER NEEF, General Director

Costume Co-ordinators Chloe Anderson Cassandra Spence

Managing Director Robert Lamb Music Director Johannes Debus EXECUTIVE OFFICE Executive Assistant to the General Director Marguerite Schabas MUSIC AND ARTISTIC ADMINISTRATION Director of Music & Artistic Administration Roberto Mauro Contracts Manager Karen Olinyk

PRODUCTION Director of Production Chuck Giles Production Manager Michael Freeman

Assisted by Karen Hancock Laura Delchiaro

Assistant Technical Directors Autumn Coppaway Jake Gow Melynda Jurgenson

Additional Costumes Industry Costumes Avril Stevenson

Assistant Production Manager Shawna Green Head Electrician Joe Nalepka Assistant Electricians Ashley Rose Joel Thoman

Chorus Master Sandra Horst

Head of Sound Bob Shindle

Assistant to the Music Director Derek Bate

Assistant Sound Craig Kadoke

Scheduling Manager Kathryn Garnett

Head Carpenter Paul Watkinson

Production Assistants Katherine Belyea Andréane Christiansen

Assistant Carpenter David Middleton

Music Librarian, Coach Wayne Vogan Assistant Music Librarian Ondrej Golias Music Staff Walter Althammer (Ariodante) Rachel Andrist (Norma) Christopher Bagan (Ariodante) Timothy Cheung (Ariodante) Ben Malensek (Norma)

Head Flyman David Alexander

Scene Shop Co-ordinator Amy Cummings

Head Scenic Artist Richard Gordon Assistant Head Scenic Artist Katherine Lilley Rehearsal Head Technician Scott Williamson Properties Supervisor Guy Nokes Resident Properties Builder/ Co-ordinator Stephanie Tjelios Resident Properties Buyer/ Co-ordinator Kathy Frost Properties Builder/Co-ordinator Tracy Taylor Properties Builder Wulf

Wig & Make-up Supervisor Sharon Ryman Head of Wig & Make-up Crew Cori Ferguson SURTITLES™ Producer Gunta Dreifelds SURTITLES™ Editor Zane Kaneps SURTITLES™ Assistants Olwyn Lewis Michael Shannon

ADVANCEMENT

Core Crew Doug Closs Terry Hurley Paul Otis Gregg Feor

Assistant Scene Shop Carpenter Andrew Walker

COC Ensemble Studio Emily D’Angelo Lauren Eberwein Hyejin Kwon Danika Lorèn Stéphane Mayer Samantha Pickett Megan Quick Bruno Roy Aaron Sheppard Charles Sy

Wardrobe Assistant Leslie Brown

Head of Front of House Alex Maitland

Director, COC Ensemble Studio and Orchestra Academy Nina Draganic

Performance Kinetics Consultant Jennifer Swan

Head of Wardrobe Nancy Hawkins

Supernumeraries Co-ordinators Analee Stein Elizabeth Walker

Head Scene Shop Carpenter David Retzleff

Head Vocal Consultant Wendy Nielsen

Additional Painting and Dyeing Marjory Fielding

Head of Properties Daniel Graham

COC ENSEMBLE STUDIO AND ORCHESTRA ACADEMY

Head of the Ensemble Studio & Coach Liz Upchurch

Resident Cutter Tracey Glas

Lighting Co-ordinator Daniele Guevara

Company Manager Olwyn Lewis

Orchestra Personnel Manager Ian Cowie

Costume Assistants Natassia Brunato Christina Del Monte

CANADIAN OPERA COMPANY 2016/2017

Chief Advancement Officer Christie Darville Executive Assistant to the Chief Advancement Officer Elizabeth Scott Manager, Government Relations Amy Mushinski Foundation Development Janet Stubbs

Co-ordinators, Annual Programs & Patron Engagement Brianna Chase Eileen Hanratty Senior Development Officer, Friends of the COC Victor Widjaja Individual Giving Co-ordinator, Friends of the COC Soojin Ahn Senior Development Officer, Institutional Gifts Francesco Corsaro Senior Development Officer, Partnerships Sarah Heim Development Communications Officer Nikita Gourski Advancement Operations Officers John Kriter Sophie Malek COMMUNICATIONS Chief Communications Officer Steve Kelley Director of Public Relations Claudine Domingue Senior Manager, Creative & Publications Gianna Wichelow Manager, Direct Sales and Giving Richard Paradiso Media Relations Manager Jennifer Pugsley Associate Manager, Marketing & Customer Service Eldon Earle Associate Manager, Digital Marketing Meighan Szigeti Publicist and Publications Co-ordinator Kristin McKinnon Digital Marketing Co-ordinator Tanner Davies EDUCATION AND OUTREACH

Director of Development Stephen Gilles

Associate Director, Education & Outreach Katherine Semcesen

Senior Manager, Advancement Operations Peter Hussell

Program Manager, Free Concert Series Dorian Cox

Senior Manager, Events & Engagement Tracy Abergel

Adult Programs Manager Gianmarco Segato

Senior Development Officer, Events & Engagement Erin Koth Development Officer, Events & Engagement Alexandra Folkes Senior Development Officer, Stewardship Emma Noakes Senior Development Officer, Annual Programs & Patron Engagement Natalie Sandassie

School Programs Manager Vanessa Smith Children & Youth Programs Co-ordinator Amber Yared TICKET SERVICES Ticket Services Manager Andrea Salin Assistant Ticket Services Manager Nikki Tremblay

Group Sales Co-ordinator David Nimmo Ticket Services Supervisor Lillian Fung Ticket Services Supervisor Maureen Gualtieri Ticket Services Representatives Ernest Cayemen Nick Davis Anna Kay Eldridge Peter Genoway Christopher Hackett Cat Haywood Manda Kennedy Keith Lam Megan Miles Kevin Morris Rafael Renderos Paulina Saliba Amelia Smart Kat Smiley Max Williams CALL CENTRE Call Centre Representatives Dona Arbabzadeh Catherine Belyea Frank Bushe Taisa Dackiw Keith Fernandes Paul Maly Margaret Terry FINANCE AND ADMINISTRATION Director of Finance & Administration Lindy Cowan, CPA, CA Human Resources Manager Lorraine O’Connor, CHRP Finance Manager Saptarsi Saha, CPA, CA General Accountants Florence Huang Zoran Orlic (FSCPA)

Associate Director, Business Development Elizabeth Jones Business & Events Co-ordinator Lori MacDonald Assistant, Scheduling & Events Hannah Gordon Patron Services Manager, Front of House Julia Somerville Patron Services Manager, Food & Beverage Brigitte Lang Assistant Manager, Patron Services Kim Hutchinson-Barber Senior Patron Services Supervisors Stuart Constable Melissa McDonnell Kimberly Wu Patron Services Supervisors Karol Carstensen Stuart Constable Jamieson Eakin Christine Groom Melissa McDonnell Evan Steingarten Sophia Wiens Rosemary Williams Kimberly Wu Patron Services Leads Diana Pfeffer Amelia Smart Kate Werneburg BUILDING SERVICES Associate Director, Facilities Management Joe Waldherr Assistant Manager, Operations Christian Coulter

Payroll Accountants Jovana Bojovic Jeanny Won

Maintenance Assistants Ryszard Gad (COC) Branislav Peterman (COC) Julian Peters (COC) James Esposito (FSCPA) Enrique Covarrubias Cortes (FSCPA) Piotr Wiench (FSCPA)

Finance Assistant Lorrie Element

Security Supervisor Dave Samuels

Manager, IT Services Steven Sherwood

Security Officers George Balyasin Abdi Gulleed Natalia Juzyc Usman Khalid Nicholas Martin Kathleen Minor Heather Reid

Accounting Clerk Vera Brjozovskaia

Database Reporting Specialist Brad Staples IT Services Assistant Tony Sandy Archivist, Joan Baillie Archives Birthe Joergensen Receptionist/Switchboard Katarina Božovic Mailroom Clerk/Courier Branka Hrsum FOUR SEASONS CENTRE FOR THE PERFORMING ARTS Director, Four Seasons Centre for the Performing Arts Alfred Caron

There’s a place for you here. Support the COC and enjoy the perks of membership.

Building Operators Dan Bisca Dan Popescu Adrian Tudoran Eurest Services Supervisor Paula Da Costa Eurest Services Team Jennifer Barros Malaku Godana Nash Lim Jimmy Pacheco Sugey Torres

416-363-5801 coc.ca/Support

MANY THANKS TO OUR SUPPORTERS Life Trustees Council

The Canadian Opera Company salutes the leaders of the COC community whose efforts have been integral to the company’s artistic evolution and transformative history of accomplishment. Earlaine Collins J. Rob Collins David Ferguson (Chair)

Jerry and Geraldine Heffernan Ben Heppner Henry N. R. Jackman

Adrianne Pieczonka Arthur R. A. Scace, C. M. David Stanley-Porter

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. The support from each of these individuals is critical to the company’s success and we are forever indebted to their commitment and generosity. Tony and Anne Arrell The Estate of Dr. Larry M. Agranove ARIAS: Canadian Opera Student Development Fund The Gerard & Earlaine Collins Foundation The late John A. Cook The Estate of Horst Dantz and Don Quick Philip Deck & Kimberley Bozak Jerry and Geraldine Heffernan The Henry White Kinnear Foundation

Kolter Communities The Catherine and Maxwell Meighen Foundation Roger D. Moore E. Louise Morgan Tim & Frances Price Colleen Sexsmith Joey & Toby Tanenbaum Anonymous (3)

Major Gifts and Special Projects

The COC offers its sincere thanks to the individuals listed below for their extraordinary support. PRODUCTION UNDERWRITERS Demonstrating their leadership and generosity, these donors have underwritten the COC’s mainstage productions. $500,000 + The Catherine and Maxwell Meighen Foundation Colleen Sexsmith $100,000 – $499,999 Philip Deck & Kimberley Bozak $10,000 – $99,999 The Asper Foundation The Max Clarkson Family Foundation PERFORMANCE AND ARTIST SPONSORS The following donors extend their generous support to individual artists and productions $100,000 + George & Kathy Dembroski Jack Whiteside $25,000 – $99,999 Earlaine Collins Robert Sherrin The Tauba and Solomon Spiro Family Foundation Kristine Vikmanis & Denton Creighton Anonymous (1)

GENERAL PROGRAM SUPPORTERS Providing general program support is critical to the COC’s artistic mission.

LEGACY AND BEQUEST GIFTS The COC honours the memory of the following patrons whose vision and generosity has provided lasting support.

$1,000,000 Peter M. Deeb

$1,000,000+ Jerry and Geraldine Heffernan The Henry White Kinnear Foundation Tim & Frances Price Anonymous (1)

$500,000 – $999,999 The Slaight Family Foundation

$100,000+ Anne & Tony Arrell

$25,000 – $499,999 Ethel Harris & the late Milton E. Harris Hal Jackman Foundation Barbara Keenan Marjorie and Roy Linden Roger D. Moore The Stratton Trust

Up to $24,999 Bruce C. Bailey James & Christine Nicol Simon Nyilassy

Estate of Anne Margaret Delicaet‡ Estate of Marion Gertrude Farr‡ Estate of Eluned MacMillan Estate of James Drewry Stewart Estate of Norma Yvonne Sawden‡ Estate of Marion Caroline Wilson‡

Up to $24,999 J. Hans Kluge ENSEMBLE STUDIO SUPPORTERS Encouraging the next generation of artists, these donors support the COC Ensemble Studio.

Up to $24,999 ARIAS: Canadian Opera Student Development Fund Marcia Lewis Brown Margaret Harriett Cameron and the late Gary Smith Catherine Fauquier Peter & Hélène Hunt Jo Lander Colleen Sexsmith Toronto Wagner Society Brian Wilks Anonymous (2)

ENDOWMENT SUPPORT Making a gift to the Endowment ensures the longterm stability for the COC and its artists. $100,000 + Hon. Henry N. R. Jackman $25,000 – $99,999 Dr. Rodney C. Ellis Michael W. & Wanda Plachta Endowment Fund Janet Stubbs Up to $24,999 David E. Spiro Anonymous (1)

‡ designates funds directed to the COC’s Endowment

MEMORIAL AND HONORARY DONATIONS The COC expresses its sincere appreciation to all donors who have made memorial and honorary donations. In Memory of James A. Bradshaw Patricia Martin Dr. Samuel A. Ojo Emily Rankin Abraham (Bram) Smit In Honour of Ninalee Craig Jean Edwards Colleen Sexsmith Dr. David Stanley-Porter As of August 26, 2016

CANADIAN OPERA COMPANY 2016/2017

Individual Giving Annual Support GOLDEN CIRCLE GOLD, $50,000 + Anne & Tony Arrell**** Cecily & Robert Bradshaw* David G. Broadhurst** In memory of Gerard H. Collins**** Jerry & Geraldine Heffernan**** The Catherine and Maxwell Meighen Foundation**** Colleen Sexsmith*** Anonymous (1) SILVER, $25,000 – $49,999 Mark & Gail Appel**** Paul Bernards*** Barbara Black** Philip Deck & Kimberley Bozak*** Michael Gibbens & Julie Lassonde* The Hon. William C. Graham & Mrs. Catherine Graham**** Rennie & Bill Humphries**** Ronald Kimel & Vanessa LaPerriere**** Susan Loube & William Acton** Judy & Wilmot Matthews** James & Christine Nicol Jack Whiteside*** Anonymous (1) BRONZE, $12,500 – $24,999 Dr. & Mrs. Hans G. Abromeit**** Ms Nora Aufreiter* Mr. Philip J. Boswell**** Walter M. & Lisa Balfour Bowen**** Susanne Boyce & Brendan Mullen**** Marcia Lewis Brown* Helen Burstyn & Family Stewart & Gina Burton** Wendy M. Cecil & Jack Cockwell Family**** Dr. John Chiu in memory of Yvonne Chiu, C.M.**** Stephen Clarke & Elizabeth Black** The Max Clarkson Family Foundation**** J. Rob Collins & Janet Cottrelle**** Sydney & Florence Cooper** Ninalee Craig**** Mr. & Mrs. Leslie Dan*** Jean Davidson & Paul Spafford**** David & Kristin Ferguson**** George Fierheller**** Lloyd & Gladys Fogler*** Four Seasons Hotels & Resorts*** Robert Fung** Ira Gluskin & Maxine Granovsky Gluskin*** Ethel Harris & the late Milton Harris**** William & Nona Heaslip Foundation**** Mr. Peter Hinman & Ms Kristi Stangeland Douglas E. Hodgson**** Michael & Linda Hutcheon**** Bernhard & Hannelore Kaeser**** Justin S. Linden* Jeff Lloyd & Barbara Henders** Ms Anne Maggisano Hon. Margaret Norrie McCain*** John & Esther McNeil**** John McVicker & B. W. Thomas**** Delia M. Moog*** Jonathan Morgan & Shurla Gittens** Sue Mortimer in memory of Clive Bennett Mortimer**** Peter M. Partridge**** Mr. Tim & Mrs. Frances Price****

Ms R. Raso**** David Roffey & Karen Walsh**** Barrie D. Rose & Family*** J. Allen Smith & Katherine Megue-Smith Philip & Maria Smith*** Stephen & Jane Smith**** Marion & Gerald Soloway*** David E. Spiro**** Françoise Sutton*** Ryerson & Michele Symons Kiersten Taylor & Tim Loftsgard Riki Turofsky & Charles Petersen** Ms Kristine Vikmanis & Mr. Denton Creighton**** The Youssef-Warren Foundation****

PRESIDENT’S COUNCIL TRUSTEE, $7,500 – $12,499 Margaret Atwood & Graeme Gibson*** Frank Ciccolini Sr. **** Marilyn Cook** Bud & Leigh Eisenberg*** Andrew Fleming** Peter & Shelagh Godsoe*** Chris Hoffmann & Joan Eakin** J. Hans Kluge** Anne Lewitt** Jerry & Joan Lozinski**** Mr. & Mrs. J. S. A. MacDonald**** Kathleen McLaughlin & Tim Costigan** Dr. Judith A. Miller**** Douglas L. Parker**** Alan & Gwendoline Pyatt Annie & Ian Sale* Dr. David Shaw** Carol Swallow*** PATRON, $3,750 – $7,499 Miguel Amaral & Yael Woodward Amaral Sue Armstrong**** Ron Atkinson & Bruce Blandford**** Mona H. Bandeen, C. M. *** Henk Bartelink in memory of Oskar & Irmgard Gaube*** Dr. Frank Bartoszek & Mr. Daniel O’Brien**** Dr. Thomas H. Beechy**** Mr. & Mrs. Eric Belli-Bivar*** Dr. Catherine Bergeron*** Tom Bogart & Kathy Tamaki** Dr. David & Constance Briant**** Dr. Jane Brissenden & Dr. Janet Roscoe**** Mrs. Donna Brock*** Alice Burton*** Margaret Harriett Cameron**** Sharon & Howard Campbell** Cesaroni Management Limited*** The Rt. Hon. Adrienne Clarkson* Mr. & Mrs. William J. Corcoran*** Bram & Beth Costin Lindy Cowan† & Chris Hatley*** Brian J. Dawson*** Peter Deeb* Dr. Jeanne Deinum**** Angelo & Carol DelZotto*** Carol Derk & David Giles** Mrs. Shirley Diamond & Family**** Peter & Anne Dotsikas*** Jeffrey Douglas Vreni & Marc Ducommun**** Joseph Fantl & Moira Bartram** Mr. & Mrs. Fraser M. Fell**** Ms Lindsay Dale-Harris & Mr. Rupert Field-Marsham**** Margaret & David Fountain**** Dr. & Mrs. Wm. O. Geisler*** Susan Gerhard** Ann J. Gibson****

Rose & Roger Goldstein**** Michael & Anne Gough**** Dr. Noëlle Grace & The Shohet Family**** Ronald & Birgitte Granofsky**** Douglas & Ruth Grant* John & Judith Grant** Al & Malka Green** John Groves & Vera Del Vecchio**** Dr. Albert J. Haddad George & Irene Hamilton**** Scott & Ellen Hand*** Mr. Harquail & Dr. Sigfridsson** Maggie Hayes** Hon. & Mrs. Paul Hellyer**** Michiel Horn & Cornelia Schuh**** Ken Hugessen & Jennifer Connolly** Mr. Robert C. Jefferies**** Dr. Joshua Josephson & Ms Elaine Lewis**** Lorraine Kaake**** The Patrick & Barbara Keenan Foundation**** James & Diane King** Dr. Elizabeth Kocmur**** Kimberley Fobert & Robert Lamb†**** Mr. Philip Lanouette** John B. Lawson, C.M. Q.C. **** Paul Lee & Jill Maynard**** Mr. J. Levitt & Ms E. Mah** Mr. Peter Levitt & Ms Mai Why*** Daniel & Janet Li** Dr. Vance Logan**** Peter H. Lunney* James & Connie MacDougall**** Mr. Jed MacKay**** Dr. Colin McGregor Mailer**** Mrs. J. L. Malcolm** Dr. & Mrs. M. A. Manuel** Frederick J. Marker & Anne W. Dupré Fernando Martinez-Caro Dr. & Mrs. Donald C. McGillivray**** Paul & Jean McGrath**** Ronan McGrath & Sarah Perry* June McLean**** Don McQueen & Trina McQueen, O.C. *** Mr. Ulrich Menzefricke**** Bruce & Vladka Mitchell** Mr. Noel Mowat** Dr. M. L. Myers & the late Dr. W. P. Hayman**** Matt & Debbie Mysak*** Dr. Shirley C. Neuman*** Eileen Patricia Newell*** Dr. Emilie Newell** Sally-Ann Noznesky**** Simon Nyilassy* Donald O’Born*** Emile Oliana & Alvin Iu**** Janice Oliver*** Julia & Liza Overs*** Dr. & Mrs. William M. Park**** John & Gwen Pattison** John & Carol Peterson*** June C. Pinkney**** Polk Family Charitable Fund** Julian & Anna Porter Margrit & Tony Rahilly**** Mrs. Richard Gavin Reid** Douglas L. Ludwig & Karen J. Rice*** Rob & Penny Richards*** Margaret A. Riggin** Gordon Robison & David Grant** Ms Sharon Cookie Sandler**** Judy & Hy Sarick**** Sam & Esther Sarick**** Helen & John Scott** June Shaw & the late Dr. Ralph Shaw**** Allan & Helaine Shiff**** David & Hilary Short****

Hume Smith**** Dr. Harley Smyth & Carolyn McIntire Smyth** Mr. Philip Somerville** Cameron Rusaw & Anne-Marie Sorrenti Dr. John Stanley & Dr. Helmut Reichenbächer*** Wayne Stanley & Marina Pretorius** David Stanley-Porter**** Doreen L. Stanton**** Janet Stubbs†** Wendy J. Thompson**** Anthea Thorp**** Ian Turner*** Sandra & Guy Upjohn*** Donald & Margaret Walter**** Hugh & Colleen Washington** Ruth Watts-Gransden**** Dr. Virginia Wesson*** Mr. Brian Wilks** Ms Lilly Wong* Mrs. Richard Wookey**** Linda Young* Helen Ziegler*** Susan Zorzi** Sharon Zuckerman**** Anonymous (6) MEMBER, $2,250 – $3,749 D. C. Adamson-Brdar**** Dr. & Mrs. Larry M. Agranove**** Donna & Lorne Albaum** Clive & Barbara Allen**** Mr. Thomas & Mrs. Claire Allen** Dr. D. Amato & Ms J. Hodges**** Mr. Mark Andrews Anne-Marie H. Applin**** Valerie Armstrong**** Philip Arthur & Mary Wilson** Virginia Atkin**** Mr. Jeff Axelrod & Dr. John Goodhew K.R.I. Bailey** John Bailey** James C. Baillie** Marilyn & Charles Baillie**** Andrew & Cornelia Baines**** Janice A. Baker**** Richard J. Balfour**** Alice & Tom Bastedo*** Mr. N. Beilstein & Mr. A. Lee Ms Marie Bérard†*** Nani & Austin Beutel**** Dody Bienenstock** John & Mandy Birch* Anneliese & Walter Blackwell**** Ian & Janet Blue*** Mr. W. Bowen & Ms. S. Gavinchuk**** Mr. Stephen Bradley Mrs. Carolyn Bradley-Hall & Mr. William Bradley*** Mrs. Richard Bradshaw**** Christopher & Elizabeth Buller Thomas J. Burton** Maureen Callahan & Douglas Gray** Ken & Denise Cargill** Brian & Ellen Carr**** Gail Carson**** Drs. Carol & David Cass Lee Chambers Prof. Alfred L. Chan & Mr. Michael Farewell*** Dr. & Mrs. Albert Cheskes*** John D. Church Dr. Howard M. Clarke*** Edward Cole & Adrienne Hood*** Brian Collins & Amanda Demers** Tony & Elizabeth Comper** Katherine Robb Corlett**** Anita Corrigan*** Dr. Lesley S. Corrin**** Gay & Derek Cowbourne** Mary & John Crocker**** Ruth & John Crow***

CANADIAN OPERA COMPANY 2016/2017

Mary Beth Currie & Jeff Rintoul Carrol Anne Curry**** Mr. Stuart Davidson* Dr. & Mrs. Michael & Ute Davis*** Honor & Michael de Pencier**** Charles Dennis & Steve Kelley† Mr. & Mrs. A. J. Diamond* J. DiGiovanni** Olwen & Frank Dixon** James Doak & Patricia Best*** Sandra Z. Doblinger** Ms Petrina Dolby*** Dr. James & Mrs. Ellen Downey** Marko Duic and Gabriel Lau**** Dr. Alicia Dunlop Mr. Albert D. Dunn* William & Gwenda Echard**** Jean Patterson Edwards** Wendy & Elliott Eisen**** Jordan Elliott & Lynne Griffin* Christoph Emmrich & Srilata Raman Dr. & Mrs. John Evans*** George A. Farkass** Darren Farwell Catherine Fauquier*** Bill Fearn & Claudia Rogers**** Lee & Shannon Ferrier**** William & Rosemary Fillmore*** Goshka Folda* J. E. Fordyce**** Robert & Julia Foster** Mrs. Ingrid Fratzl Rev. Ivars Gaide & Rev. Dr. Anita Gaide*** Judy & David Galloway Ms Carol Gray Ann Gawman*** Dr. Barry A. Gayle**** The Honourable Irving Gerstein & Mrs. Gail Gerstein*** Sarah Glatt**** Dr. Eudice Goldberg* Aviva & Andrew Goldenberg** Dr. Fay Goldstep & Dr. George Freedman** Deanna A. Gontard**** Tina & Michael Gooding*** Wayne A. Gooding†**** David & Wendy Flores-Gordon** Bryan Grant Mr. Finn Greflund & Mrs. M. Ortner*** Mr. Carmen & Mrs. Vittoria Guglietti** Ellen & Simon Gulden**** James & Joyce Gutmann**** Dan Hagler & Family*** Mrs. Pamela Hallisey Mr. Adrian J. Hamel* Beverly Hargraft** Paul & Natalie Hartman** Jacques & Elizabeth Helbronner*** Thea Herman & Gregory King*** William E. Hewitt*** Ms Pamela Hoiles Sally Holton**** Frances Humphreys in memory of Anthony C. J. Humphreys**** Peter & Hélène Hunt**** Mr. Sumant Inamdar** Dr. Melvyn L. Iscove*** Eva Innes & David Medhurst* Elliott Jacobson & Judy Malkin** Lynne Jeffrey**** Dr. R.G. Perrin** Laurence Jewell** The Norman & Margaret Jewison Charitable Foundation**** Ms Elizabeth Johnson** In Memory of Patricia Johnson** Dr. Albert & Bette Johnston** Joyce Johnston*** Miriam Kagan H. L. Katarynych*** Dr. Joel Keenleyside****

David W. & Sheryl L. Kerr* Ms Kristina Kerr Inta Kierans**** Ellen & Hermann Kircher**** Mr. Martin Kirr & Ms Suzanne McCuaig* Mr. Douglas Klaassen** Michael & Sonja Koerner*** William & Eva Krangle**** Richard T. La Prairie** Peter Lamb & Veronica Tennant Elizabeth & Goulding Lambert**** Jo Lander**** The Hon. Dennis Lane, Q.C. & Mrs. Sandra Lane**** M. J. Horsfall Large*** Dr. Connie Lee*** Linda Lee & Michael Pharoah**** Neal & Dominique Lee** Dr. Richard Lee & Mr. Gary Van Haren** Alexander & Anna Leggatt**** Joy Levine*** L. Liivamagi & Dr. D. N. Cash* Marjorie & Roy Linden**** Dr. & Mrs. W. G. Lindley**** Janet & Sid Lindsay*** Anthony J. Lisanti*** Dr. Weldon Liu Tom C. Logan* A. Benson Lorriman**** Jonathan & Dorothea Lovat Dickson** Amy & John Macfarlane** Dr. & Mrs. Richard Mackenzie**** Tom MacMillan**** Macro Properties Ltd. ** Mr. A. Mafrici**** R. Manke**** Mr. & Mrs. R. Gordon Marantz**** Roberto Mauro† & Erin Wall Mrs. Ettore Mazzoleni*** Diane McArthur The Hon. Barbara McDougall**** Don McLean & Diane Martello* Guy & Joanne McLean**** M. E. McLeod**** Mr. Timothy McNicholas* Mark & Andrea McQueen**** Shawn McReynolds & Elaine Kierans** Dr. Don Melady & Mr. Rowley Mossop*** Eileen Mercier**** Ms Cornelia Mews Patricia & Frank Mills*** Dr. & Mrs. Steven Millward** Florence Minz Audrey & David Mirvish*** Dr. David N. Mitchell & Dr. Susan M. Till*** Mr. Donald Mitchell* Mr. Robert Morassutti**** Alice Janet Morgan**** Ms Sylvie Morin*** Ms Rosalind Morrow** Drs. Christopher & Pippa Moss*** Gael Mourant & Caroline Hubberstey* Mr. Joseph Mulder** David & Mary Neelands*** Dr. Steven Nitzkin**** Dr. James & Mrs. Valda Oestreicher*** Marwan Osseiran The Ouellette Family Foundation Eileen & Ralph Overend** Clarence & Mary Pace*** Dr. & Mrs. N. Pairaudeau**** Elizabeth Paupst Dr. Roger D. Pearce**** Dr. A. Angus Peller** John & Penelope Pepperell** Dr. R. G. Perrin** M. J. Phillips****

CANADIAN OPERA COMPANY 2016/2017

Robin B. Pitcher**** Wanda Plachta**** Mr.& Mrs. Domenic Porporo** Mary Jean & Frank Potter*** Georgia Prassas**** Ms Jill Presser & Mr. John Duffy* Dr. Mark Quigley**** Stephen Ralls & Bruce Ubukata*** The Carol & Morton Rapp Foundation**** Lola Rasminsky & Bob Presner Dr. Reza Rastegar Professor C. Edward Rathé**** Kenneth F. Read**** Grant L. Reuber**** Mrs. Gabrielle Richards*** Carolyn Ricketts**** Ms Nada Ristich* Emily & Fred Rizner** Clara Robert** Steve & Richa Roder Dr. Michael & Mary Romeo**** Mrs. Gertrude Rosenthal**** Rainer & Sharyn Rothfuss**** The Roux Family David A. Ruston**** Mallory Morris Sartz & John Sartz**** Go Sato**** Fred & Mary Schulz** Dr. Marianne Seger**** Carol Seifert & Bruno Tesan*** Robert & Geraldine Sharpe**** Milton & Joyce Shier**** Dr. Bernie & Mrs. Bobbie Silverman** Rod & Christina Simpson Helen Sinclair & Paul Cantor In memory of Dr. Bernard Slatt* Jay Smith & Laura Rapp** Ms Muriel Smith & Mr. Eric Ojala**** Dr. Joseph So**** John & Ellen Spears**** Martha E. Spears**** Rosemary Speirs Ms Gillian Stacey Oksana R. Stein**** John D. Stevenson**** James H. Stonehouse** William Siegel & Margaret Swaine*** Eric Tang & Dr. James Miller** Tesari Charitable Foundation Dr. M. L. Thurling Mr. Ronald L. W. Till**** Elizabeth Tory**** Mr. Alex Tosheff* Dr. R. B. Van Winckle* Dory Vanderhoof & Rosalind Bell**** Edmond & Sylvia Vanhaverbeke**** Stefan Varga & Dr. Marica Varga* Dr. Yvonne Verbeeten** Dr. Helen Vosu & Donald Milner**** Elizabeth & Michael Walker*** Peter Webb & Joan York**** Ms Eleanor Westney** Melanie Whitehead*** Elizabeth Wilson & Ian Montagnes**** Robert Elliott & Paul Wilson** John Wright & Chung-Wai Chow** Dr. Jackson Wu & Dr. Viviana Chang* Mr. Takahiro Yamanaka Ms June Yee*** Morden Yolles**** Anonymous (26)

FRIENDS OF THE COC SUSTAINING FRIENDS $1,600 – $2,249 Carol & Ernest Albright**** Gail Asper & Michael Paterson Iivi Campbell**** Jayne & Ted Dawson****

Mr. Steven D. Donohoe**** Ricardo Gomez-Insausti* Mr. James Hamilton* Roy & Gail Harrison**** Bill Heaslip**** Frieda and Vern Heinrichs Mr. Josef Hrdina** Dr. Paul & Mrs. Marcia Kavanagh Duncan & Sondra Lear Georgina McLennan**** Lee Parsons* Barbara & Peter Pauly** Norbert & Elizabeth Perera**** Ms Joan Sinclair*** David Smukler & Patricia Kern** The Sorbara Group of Companies**** Georgina S. Steinsky Ms Peg Thoen** Vernon & Beryl Turner**** Gordon Waugh**** F. Whittaker** Carole & Bernie Zucker*** ASSOCIATE FRIENDS $1,100 – $1,599 Michael & Janet Barnard** Michael Benedict & Martha Lowrie**** Don Biderman**** Ellen & Murray Blankstein* Darlene & Peter Blenich* Dr. Wendy C. Chan* Geoffrey & Bilgi Chapman**** Patricia Clarke** Robert D. Cook** Mr. Neil Crawford* Mr. Greg Cumming*** Mr. Darren Day*** Mr. Rohan D’souza Dr. Christine Dunbar** Howard & Kathrine Eckler*** Lawrence Enkin*** R. Dalton Fowler**** Mr. Osvaldo & Mrs. Joanne Girimonte Ms Alison Harvison Young & Mr. Herman J. Wilton-Siegel** Sylvie Hatch**** David Holdsworth & Nicole Senécal** Richard & Susan Horner**** Dr. Ivan & Mrs. Diana Hronsky**** James Hughes*** Mr. David Hutton*** Mr. Kazik Jedrzejczak**** Ms Suanne Kelman & Dr. Allan J. Fox** Dr. & Mrs. L. A. Kitchell**** Murray & Marvelle Koffler**** Ms Elizabeth Lorimer* Andrew & Harriet Lyons P. Anne Mackay**** Mrs. Janet Maggiacomo** Mary McClymont**** Janina Milisiewicz**** Mr. David Milovanovic & Dr. Cinda Dyer Mr. Carl Morey**** Sean O’Neill & Victoria Cowling**** Justice Michael & Susan Phelan Ms Victoria Pinnington*** Brayton Polka Mr. Andrew Prodanyk Dr. Peter Ray**** Dr. Shelley Rechner**** Robert & Dorothy Ross**** Mr. Michael Samborsky*** William & Meredith Saunderson**** Dr. Anabel M. Scaranelo Ms Elisabeth Scarff**** Dr. & Mrs. W. K. Stavraky*** Mr. Paul Steep & Ms Anne McNeilly* Helga & Klaus Stegemann*** Norma & George Steiner****

Anna Talenti**** Mr. & Mrs. David G. Trent**** Dr. Peter Voore**** Ms Virginia Wai Mr. John M. Welch**** Nina & Norman Wright*** Anonymous (4) CONTRIBUTING FRIENDS $700 – $1,099 Nancy and Arthur Ameis Charitable Fund** Leila Appleford*** Dr. I. L. Babb Fund at the Toronto Community Foundation**** In memory of M. Baptista*** Karen & Bill Barnett* Peter & Leslie Barton*** Mrs. Lynn Bayer*** Catherine Belyea† Jeniva Berger**** Anthony Bird**** Staunton Bowen Mary Brock & Brian Iler**** James E. Brown** Brian Bucknall & Mary Jane Mossman**** Ms Judith Burrows*** Ms E. Burton*** Mr. Bill Cameron** Mary Campbell**** Betty Carlyle**** Mark Cestnik & Natercia Sousa**** Harold Chmara & Danny Hoy**** George Clark** Joe T. R. Clarke**** Mr. Philip J. Conlon*** Mr. Scott Connell & Ms Anouchka Freybe William Cowan & Elodie Fourquet** Sylvain Crozon Peter and Elly Daniels Mr. & Mrs. Michael Davies**** Anita Day Don DeBoer & Brent Vickar*** Mr. Michael Disney** Ms Eleanor L. Ellins**** Susan Elliott Mr. Arthur English** Joe & Helen Feldmann*** Bruce & Mary Fillier Russell Finch Jennifer & Frank Flower**** Marie-Lison Fougere** Angelo Furgiuele & Family* Douglas G. Gardner**** Mr. M. Gerwin & Mrs. J. Rutledge** Alison Girling & Paul Schabas** Les & Marion Green**** Ms Julianna Greenspan Dr. & Mrs. Voldemars Gulens**** Dr. & Mrs. Brian & Cynthia Hands**** Sandra Hausman** Mrs. Hana Havlicek-Martinek* W. L. B. Heath**** Barbara & John Hepburn* Dr. Paul Cooper & Mr. David Hiebert In memory of Pauline Hinch** Richard & Donna Holbrook**** In loving memory of Joyce Whitney Hughes* Mr. Chris Ibey*** Xiao Jiang Douglas & Dorothy Joyce**** Lilian Kilianski† & Brian Pritchard* Mai Kirch**** Mr. & Mrs. I. P. & O. M. Komarnicky*** Adrian Kos & Olga Repryntseva Christopher Kowal* Dr. Milos Krajny**** Ms Eva Kukiel** Gediminas P. Kurpis**** Mr. James R. Lake**** Harry Lane*** Alan & Marti Latta****

Giles le Riche & Rosemary Polczer*** Mr. Tom Le Seelleur*** Mr. Martin Leistner Claus & Heather Lenk** Yakov Lerner†* Mrs. Mary Liitoja**** Susan Lockwood* Gil & Dorota Lorenson Dr. Francois Loubert** Francess G. Halpenny**** Deidre Lynch & Thomas Keirstead* David Macfarlane Mary P. MacLean*** Kathy Marton* Mary McGowan**** Jil McIntosh** Mr. Bruce McKeown**** Dr. & Mrs. Martin & Deborah McKneally** Sylvia M. McPhee**** Janis Medland* Dr. Alan C. Middleton*** Randy Mills* Kamini & Lynne Milnes* John Mogan* Frank & Anne Moir*** Peter Naylor Larry Nevard Mrs. Sara Nixon Ms Cristina Oke*** Karen Olinyk†* Mr. Vlad Ovchinnikov & Mrs. Lesia Menchynska* Joan Pape**** Mr. James C. Pappas**** Mr. Joseph & Mrs. Letizia Paradiso*** Dr. Wadermar A. Pieczonka**** Ed & Beth Price*** Robert Radke Mr. Jason Roberts*** Ms Virginia Robeson** Mr. Anthony Rubin**** Patti & Richard Schabas** Front Desk Ltd./Toby Schertzer Valerie Schweritzer & Chris Reed**** Marlene Pollock Sheff** Mrs. Pamela Smith*** John Spears and Elisabeth Marsden**** Phil Spencer**** Mr. Paul Straatman Pavel and Vera Straka*** Penelope K. Sullivan**** Ms Grace Szczerbowski Larry & Judy Tanenbaum**** Terry S. Tator*** Ria Tietz**** Dr. Claude Tousignant** Dr. Nancy F. Vogan**** Mr. Wayne Vogan†**** George Vona & Lark Popov** Angela & Michael Vuchnich**** Dr. O. R. Waler* James & Margaret Whitby**** Joan Williams**** David A. Young Ms Iris Zawadowski** Yvonne Zhang Anonymous (13)

The Encore Legacy The Encore Legacy is the planned giving program of the Canadian Opera Company.

Planned giving is making the decision today to provide a gift for the Canadian Opera Company that may not be realized until after your lifetime.

Gifts planned today, that will ultimately affect your estate, allow you to make a statement of support that will become a lasting legacy to the COC. The Canadian Opera Company gratefully acknowledges and thanks the following individuals who have included the COC in their estate planning: Mary Agay Susan Agranove & Estate of Dr. Larry M. Agranove Ken R. Alexander Isobel Allen Ms Sandra Alston Ms Ann Andrusyszyn Callie Archer Renata Arens & Elizabeth Frey Mrs. Rosalen Armstrong Tony & Anne Arrell Ron Atkinson & Bruce Blandford Mr. L. H. Bartelink J. Linden Best & James G. Kerr Mr. Philip J. Boswell David Bowen Marnie M. Bracht Gregory Brandt Ms Cindy Breslin-Carere Marcia Lewis Brown Brian Bucknall & Mary Jane Mossman Dita Vadron & Jim Catty Mrs. Ann Christie Earl Clark Stephen Clarke & Elizabeth Black The Rt. Hon. Adrienne Clarkson Brian Collins & Amanda Demers Earlaine Collins David H. Cormack Ninalee Craig Anita Day & Robert McDonald Ann De Brouwer Helen Drake Yvonne Earle David & Kristin Ferguson Carol Fordyce Rowland D. Galbraith Douglas G. Gardner Susan Gerhard Ann J. Gibson Tina & Michael Gooding Michael & Anne Gough Donald I. F. Graham Colin Gruchy David G. Hallman George & Irene Hamilton Joan L. Harris William E. Hewitt James Hewson John R. Higgins Mr. Kim Yim Ho & Walter Frederic Thommen Douglas E. Hodgson Michiel Horn Matt Hughes Michael & Linda Hutcheon Elaine Iannuzziello Dr. Ingrid Jarvis Lynne Jeffrey Ann Kadrnka Ben Kizemchuk Kathryn Kossow Jo Lander Peggy Lau Marjorie & Roy Linden Tom C. Logan, A.R.C.T. Ms Lenore MacDonald Dr. Colin M. Mailer R. Manke Tim & Jane Marlatt Mr. Shawn Martin Margaret McKee

Sylvia M. McPhee John McVicker & B. W. Thomas Dr. Alan C. Middleton Eleanor Miller Sigmund & Elaine Mintz Donald Morse Sue Mortimer Mr. & Mrs. James D. Patterson Mervyn Pickering Gunther & Dorothy Piepke Sheila K. Piercey Dr. Zitamaria Pinto Wanda Plachta Ms Georgia Prassas K. F. Read Dr. John Reeve-Newson Florence Richler John & Norma Rogers Mrs. Margaret Russell Sharon Ryman† Cookie & Stephen Sandler Fred & Mary Schulz John & Helen Scott Colleen Sexsmith Claire Shaw June Shaw, in memory of Dr. Ralph Shaw R. Bonnie Shettler William Siegel & Margaret Swaine Paul Spafford David E. Spiro Dr. D. P. Stanley-Porter Doreen L. Stanton Drs. W. & K. Stavraky Lilly Offenbach-Strauss Janet Stubbs† Ann Sutton Ronald Taber Susanne Tabur Mrs. Ann C. Timpson Riki Turofsky & Charles Petersen Tony & Mary van Straubenzee N. Suzanne Vanstone Marie-Laure Wagner Hugh & Colleen Washington William R. Waters Brian Wilks Marion York Tricia Younger Anonymous (38)

Corporate Matching Partners The Canadian Opera Company gratefully acknowledges the following organizations that have matched gifts by their employees:

Burgundy Asset Management Ltd. Canadian Tire Corporation Limited IBM Canada Ltd.

The above Individual Support Gifts were made as of August 30, 2016 * 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.

CANADIAN OPERA COMPANY 2016/2017

2016/2017 Corporate Sponsors and Foundation Supporters

Presenting Sponsor Opera Under 30, Operanation, and Centre Stage

Official Automotive Sponsor of the COC at the FSCPA

Presenting Sponsor of Share the Opera

Supporter of Ensemble Studio and Centre Stage

Official Canadian Wine of the COC at the FSCPA

Production Sponsor Puccini’s Tosca

Ticket Back Sponsor

Preferred Credit Card TD® Aeroplan® Visa Infinite Privilege*

Production Sponsor Mozart’s The Magic Flute

Preferred Hospitality Sponsor

Title Sponsor Children’s Education Programs

Radio Partner

GOVERNMENT SUPPORT The Canadian Opera Company gratefully acknowledges the generous support through operating grants from these government agencies and departments: OPERATING SUPPORT

ENSEMBLE STUDIO

an Ontario government agency un organisme du gouvernement de l’Ontario

SPECIAL PROJECT FUNDING For many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: Department of Canadian Heritage 60

CANADIAN OPERA COMPANY 2016/2017

Employment and Social Development Canada

$100,000 + The Slaight Family Foundation $50,000 – $99,999 Chair-man Mills Inc. The Hal Jackman Foundation at the Ontario Arts Foundation $10,000 – $49,999 Audrey S. Hellyer Charitable Foundation Barrick Gold Blake, Cassels & Graydon LLP Burgundy Asset Management Limited Davies Ward Philips Vineberg Goldman Sachs Great-West Life Assurance Company Jackman Foundation J.P. Bickell Foundation Linden & Associates The Lloyd Carr-Harris Foundation McCarthy Tetrault The Mclean Foundation Norton Rose Fulbright Canada LLP Osler, Hoskin & Harcourt LLP Shangri-la Hotel Anonymous (1) $5,000 – $9,999 The George Cedric Metcalf Charitable Foundation The Hope Charitable Foundation Local 58 Charitable Benefit Fund Mill St. Brewery The Peterson Family Charitable Foundation Shinex Window Cleaning Inc. Unit Park Holdings Inc. Vida Peene Fund at the Canada Council for the Arts $2,500 – $4,999 Hicks Memorial Fund at the Calgary Foundation Tesari Charitable Foundation $1,000 - $2,499 Gill Ratcliffe Foundation Jarvis & Associates Judith Teller Foundation Loch-Sloy Holdings Limited The Powis Family Foundation

HOSTING SPONSORS Drake One Fifty Nota Bene Restaurant PREFERRED FLORISTS Bloom The Flower Company Quince Flowers

CENTRE STAGE GALA 2015 Platinum Supporters Peter M. Deeb Mercedes-Benz Canada RBC and RBC Foundation Opera Under 30 Sponsor TD Bank Group Competition Supporter Hal Jackman Foundation Gold Sponsors Brookfield Asset Management Philip Deck & Kimberley Bozak Linden & Associates Scotiabank

OPERANATI0N 2016 Presenting Sponsor TD Bank Group

Event Sponsors BT/A Cacao Barry Chairman Mills CXBO The Knot Group Mill St. Brewery Mount Gay Rum Nestle Waters Canada Pink Twig Ryan Emberley Photography Toronto Life Trius 10tation Event Catering Wellington Printworks Anonymous (2)

SEASON LAUNCH CELEBRATION 2016 Lead Sponsor TD® Aeroplan® Visa Infinite Privilege* Card

FINE WINE AUCTION 2016 Presenting Sponsors Graywood Group PwC Canada Michael Gibbens & Julie Lassonde

Entertainment Host Shangri-La hotel, Toronto

Partnering Sponsors Gillam Group Inc. RR Donnelley Canada Inc.

Partnering Sponsor Burgundy Asset Management

Supporting Sponsor Geoffrey Pennal of CIBC Wood Gundy

Supporting Sponsor Globalive Capital

Event Sponsors 10tation Event Catering The Cheese Boutique Trius Wines Stephen Ranger Waddingtons

Contributing Sponsors Altus Securities The Catalyst Capital Group Inc. Ewing Morris & Co Growth and Income .ca Milborne Real Estate Inc. Priority Access Realty Corp.

PHOTO CREDITS COVER: COC costume department, photo: COC, 2016. PAGE 3: Alexander Neef, photo: bohuang.ca, 2016. PAGES 4, 6/7, 8, 11: Scenes from Norma (San Francisco Opera, 2014), photos: Cory Weaver. PAGES 13: Main photo of Elza van den Heever by Roberto Giostra; inset: photo: Michael Cooper. PAGES 14, 16, 18/19, 21: photos by Pascal Victor/ArtComArt. PAGE 26: Interactive wall photo: Gaetz Photography. PAGE 31: top left: unknown photographer; top right: photo: Chris Hutcheson; middle and bottom: photos: Michael Cooper. PAGES 32 and 33: 1, 2, 3: Joey Lopez; 4, 7 to 12: Gaetz Photography; 5: Photo: Lindsay Ralph; 6: photo courtesy of Jennifer Pugsley; 13: Bronwen Sharp; 14 to 16: COC. PAGE 35: photo: Lucia Graca. PAGE 38: Michael Cooper. PAGE 40: Top left: photo courtesy of London Opera Guild; bottom left: photo courtesy of Muskoka Opera Guild; right top and bottom, photos: COC. PAGE 42: Counter-clockwise from top left: Johannes Debus, photo: bohuang.ca; Members of the COC Orchestra and the Orchestra Academy, photo: Karen E. Reeves; Johannes Debus and the COC Orchestra at the COC’s 2016/2017 Season Launch, photo: Chris Hutcheson; Members of the COC Orchestra Academy with soprano Christine Goerke, photo: COC. PAGES 44-46: photos: Robert Ragsdale. PAGE 49: Main photo: COC; inset photos: Lindsay Ralph. PAGE 50: Top photo courtesy of Luminato; bottom left: Gaetz Photography; bottom right: COC. PAGE 51: Ambur Braid and Simone Osborne in The Magic Flute (COC, 2011); Joni Henson and Mats Almgren in Götterdämmerung (COC, 2006); inset: Aline Kutan in The Magic Flute (2011), photos: Michael Cooper. PAGE 55: Gaetz Photography. PAGE 62: A bar at the Four Seasons Centre for the Performing Arts, photo: Joey Lopez

CANADIAN OPERA COMPANY 2016/2017

FOOD AND BEVERAGE SERVICE

We are pleased to offer, for the convenience of all our patrons, a pre-order system for intermission purchases. Our pre-order system is designed to decrease your wait time at the bar during intermisison 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.

PATRON INFORMATION AND POLICIES COAT AND PARCEL CHECK To uphold the safety of the building, oversized bags and parcels may be prohibited from entering R. Fraser Elliott Hall. Patrons attending COC performances may be offered complimentary parcel check. Coat check is located in the Lower Lobby, where the following services are also available: booster seats, back supports, infrared hearing-assistive devices and rental of binoculars, on a firstcome, first-served basis. GO SCENT FREE In consideration of patrons with allergies, please avoid wearing perfumed beauty products and fragrances. NOISE ETIQUETTE Patrons are reminded that R. Fraser Elliott Hall is an extremely lively auditorium and that all audience noise will be accentuated and audible to other patrons. Turn off all electronic devices, avoid talking, coughing, humming, moving loose seats, kicking the backs of seats, rustling programs, and unwrapping candies or cough drops. 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. If you’d like to get a picture inside the auditorium, do so before the performance begins. However, the design and direction of the production is restricted under intellectual property law, so patrons must have the permission of the COC to take pictures of the production’s set or the stage before or during performances. Any person using an unauthorized recording device will be required to surrender or erase any recordings, photographic or digital images and may be asked to leave. No refunds will be issued. Be sure to take a look at our Facebook page for official photos of our productions! LATECOMERS In the interest of safety and for the comfort of all patrons and performers, latecomers may not enter the auditorium or be seated unless there is a suitable break in the performance (usually intermission). Patrons leaving the auditorium during the performance or returning late after intermission may not be readmitted or may be accommodated in an alternate viewing location. FOOD AND BEVERAGE Outside food and beverages are prohibited from entering the venue. RECORDINGS Patrons consent to appear in recorded material by attending FSC performances/events. OBJECTIONABLE BEHAVIOUR Management reserves the right to refuse admission without refund, and expel from the premises, any person whose presence or conduct is deemed objectionable.

CANADIAN OPERA COMPANY 2016/2017

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. 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, please e-mail lostandfound@ coc.ca or call 416-342-5200 for information. TICKET SERVICES Canadian Opera Company subscriptions and individual tickets are available through COC Ticket Services ONLINE: coc.ca BY PHONE: 416-363-8231 or long distance 1-800-250-4653 Monday to Friday – 10 a.m. to 6 p.m. Saturday – 10 a.m. to 4 p.m. IN PERSON: Four Seasons Centre Box Office 145 Queen St. W. Monday to Saturday – 11 a.m. to 6 p.m. or through first intermission Sunday (performance days only) – 11 a.m. to 3 p.m. or through first intermission The Four Seasons Centre for the Performing Arts Box Office also services ticketing needs for The National Ballet of Canada and all other Four Seasons Centre events. GROUP SALES Groups of 10 or more enjoy savings on regular individual ticket prices. For more information or to reserve seats call 416-306-2356. PARKING There is parking on a first-come, first-served basis for about 200 vehicles underneath the Four Seasons Centre. The entrance is located on the west side of York Street, south of Queen Street. Additional parking is conveniently located just steps away in the Green P lot underneath Nathan Phillips Square. For directions visit greenp.com. FOUR SEASONS CENTRE FACILITY TOURS Tours of the Four Seasons Centre include backstage access! For more information, visit fourseasonscentre.ca. PRE-PERFORMANCE OPERA CHATS COC Education and Outreach staff and guest speakers offer free, insightful chats about the stories, music and background of all COC productions, 45 minutes prior to each performance in the Richard Bradshaw Amphitheatre. Doors open one hour before each performance. Seating is limited and available on a first-come, first served basis. Please join the line-up early to avoid disappointment. SPECIAL EVENTS AND CATERING The Four Seasons Centre is available for rental for all of your presentation, meeting or special events needs, with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit fourseasonscentre.ca or call 416-342-5233.

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