The Magic Flute House Program by Canadian Opera Company

Performance C A N A D I A N O P E R A C O M PA N Y Wi n te r 2 0 10/2 0 1 1

The Magic Flute

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CONTENTS 6

VOCAL ROYALTY: Meet the Princes of Flute and Cenerentola BY JON KAPLAN

OPERA FOR ADULTS BY KATHERINE SEMCESEN

NIXON IN CHINA: CLASH OF THE TITANS BY ERIC DOMVILLE

INTRODUCING THE 2011/2012 SEASON BY GIANMARCO SEGATO

Preliminary sketch of the giraffe by Myung Hee Cho, set and costume designer for The Magic Flute.

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

W i n t e r 2 0 10 / 2 0 1 1

n CANADIAN OPERA COMPANY EDITORS: Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative n RJ PERFORMANCE MEDIA INC.: PRESIDENT AND PUBLISHER: Joe Marino n CEO: Frank Barbosa n SECRETARY TREASURER: Rajee Muthuraman n FINANCE: Gina Zicari n NATIONAL ACCOUNT DIRECTORS: Danny Antunes, Gary Bell, Tom Marino, David Thom, Heather Thom n ART DIRECTOR /DESIGN: Jan Haringa n GRAPHIC ARTIST: Glenda Moniz n The Magic Flute and Nixon in China cover images: Mark Olson Canadian Opera Company’s edition of Performance magazine is published quarterly by RJ Performance Media Inc., 2724 Coventry Road, Oakville, Ontario, L6H 6R1. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright © Performance Inc. Subscriptions available by contacting publisher. Direct all advertising enquiries to 2724 Coventry Road, Oakville, Ontario, L6H 6R1 or phone 905-829-3900, Ext. 222.

For blogs, interactive quizzes, and podcasts featuring music and interviews, visit coc.ca.

VOCAL ROYALTY BY JON KAPLAN

MEET THE PRINCES OF FLUTE AND CENERENTOLA

Canadian Opera Company 2010/2011 Season

he 2011 Canadian Opera Company roster of characters is filled with nobility, both elected and hereditary. In the former category you’ll find American president Richard Nixon, whose 1972 trip to China is the subject of John Adams’ Nixon in China, while divinities – I think we can consider them nobility – are key players in the plots of Richard Strauss’s Ariadne auf Naxos and Christoph Willibald Gluck’s Orfeo ed Euridice. In the former you’ll find the god of wine, Bacchus, and, more importantly for Strauss, Ariadne’s salvation; if you want an operatic version about his creation, listen to Handel’s Semele. Gluck’s Amore, the god of love and the child of Venus, instigates Orfeo’s trip to the underworld to be reunited with his deceased wife Euridice. But it’s the princely tenors who are sure to make an impression in two works, Wolfgang Mozart’s The Magic Flute and Gioacchino Rossini’s La Cenerentola, the Italian master’s version of Cinderella. The source for the 1817 Cenerentola is clearly a fairy tale, though, as we’ll see below, it’s not quite the same story that people remember from the Brothers Grimm

or the Disney versions. Mozart’s Flute also has elements of the fairy tale. Commissioned by Emanuel Schikaneder for his suburban Viennese theatre, to a libretto by Schikaneder himself, the 1791 work is a singspiel, a combination of spoken text and song. It was aimed at an audience distanced both in geography and in taste from court operas such as Don Giovanni and The Marriage of Figaro. Both composer and librettist (Schikaneder also played Papageno at the premiere) were Freemason lodge brothers, and, as scholars have pointed out for centuries, Masonic imagery and philosophy are part of the work’s building blocks. A look at Flute’s story, though, also

suggests its links to the fairy tale: a prince hears of a beautiful princess, falls in love with her and battles obstacles to win her. Throw in some magical elements, the defeat of evil by good, a comical secondary plot involving an endearing sidekick and you could as easily be describing any of a number of traditional fireside stories. Princes in fairy tales are almost by nature characters on a quest of some sort. In Cenerentola, Don Ramiro seeks his bride from among the many women in his kingdom. Tamino, the prince in Flute, pursues his beloved, Pamina, after being shown her portrait by the three ladies who serve her mother, the Queen of the Night. What he doesn’t realize at first is that his search also involves a quest for wisdom and truth. For the Canadian Opera Company’s production of The Magic Flute, three Canadian tenors share the role of Tamino: Michael Schade, Frédéric Antoun and COC Ensemble member Christopher Enns. He and his fellow Ensemble members sing Flute on February 17 as part of the COC season at the Four Seasons Centre; it follows an Ensemble performance of Idomeneo last May. Schade, who has sung Tamino some 250 times around the world, admits with a laugh that “there’s nothing more difficult than playing a prince. “Even in real life, think about Prince Charles and Lady Diana, or more recently Prince William and his fiancée, Kate Middleton; people are often more interested in the princess than the prince, and in some fashion he’s defined by her presence.” Schade knows that Tamino has to make his mark from the opening of the opera, where he appears chased by a monstrous serpent. Michael Schade as Tamino in the Salzburg Festival production of The Magic Flute, 2006. Photo: wild+team

For blogs, interactive quizzes, and podcasts featuring music and interviews, visit coc.ca.

THE MAGIC FLUTE: Vocal Royalty: Meet the Princes of Flute and Cenerentola

Left: Frédéric Antoun. Right: Christopher Enns

“What’s fiendishly difficult is that he has to be made human from the start, and that happens where he’s thrown out of his comfort zone in his encounter with the birdcatcher Papageno. Papageno treats him simply as a fellow human being and doesn’t know what a ‘prince’ is when Tamino uses the word. I think there’s a humanistic, Freemason influence here, an idea of the equality of mankind.” Quebec tenor Antoun, who first sang the role at university, feels the challenge is in Act II, “because Mozart hasn’t given you much to play with. I almost wish that the composer had given Tamino an aria there, but I realize that Mozart’s purpose is to make Pamina shine. As a performer, I have to anchor myself on the small points about the prince’s strengths and weaknesses that text and music provide.” For Enns, a Manitoba singer who joined the Ensemble this year, Tamino is “a young man who left home to find out about the world. He’s now brimful of ideals and believes in high, lofty things like Wisdom and Beauty. Because he’s young, he’s impetuous rather than rational, and one of the things he has to add to his noble nature is prudence.” All three tenors agree that seeing Pamina’s portrait starts Tamino on his path to wholeness, but that he has much to learn along the way. “He’s off like a shotgun blast, as lads do when they’re after a pretty girl,” notes Schade, “and only when he’s running does he start to become a man. He wants to save

Canadian Opera Company 2010/2011 Season

her from a wicked oppressor, but realizes over the course of the opera that the initial problem of who’s right and wrong in this world isn’t as simple as he thought.” “He’s as much in love with Sarastro’s temple and its ideals as he is with Pamina,” continues Enns, tackling his first Tamino. “In the scene with the Speaker, Tamino finds his core beliefs challenged by the love of a woman he’s never met. Musically and dramatically, this is the scene where we learn most about the prince. The Speaker keeps challenging his ideals and firing him up both to accept his love, his high-minded principles and also to understand that Sarastro isn’t the enemy he thought.” The confrontation between Tamino and the Speaker is Antoun’s favourite scene to perform. “It has the most contrasts for the tenor; there’s drama, high notes, and a real exchange between the two. You get to see Tamino’s anger, his obedience and respect for authority, his joy when he starts to play the flute and ultimately his hope.” And while viewers come to think, like Tamino, that it’s Sarastro rather than the Queen of the Night who holds the truth, Schade isn’t so sure. In 2012, the tenor will be in Salzburg to perform Schikaneder’s sequel to The Magic Flute, Das Labyrinth, with music by Peter Winter. Schade explains that in this 1798 opera the characters from Flute return and seek power once again, power that he says contaminates in a Lord of the Rings fashion.

THE MAGIC FLUTE: Vocal Royalty: Meet the Princes of Flute and Cenerentola

“After all the times I’ve sung this opera, I’m still not sure who’s good and who’s bad. I’m convinced, though, that Tamino and Pamina would be better, after the opera ends, to move as far away from their in-laws as possible. The four of them living together doesn’t suggest a happy family scene.” Speaking of happy families, you won’t find one at the start of Rossini’s La Cenerentola, where the title character – whose name is actually Angelina – has to put up with two bullying stepsisters. There’s no cruel stepmother here, as in other versions of the tale, but rather a socialclimbing stepfather, Don Magnifico. The royal tenor in this tale is Don Ramiro, prince of Salerno, forced by his father’s sudden death to wed or be disinherited. Not the most fairy tale of motivations, but he’s still forced to search his kingdom for the ideal wife.

Preliminary sketch of Tamino by Myung Hee Cho, set and costume designer for The Magic Flute.

Canadian Opera Company 2010/2011 Season

Rossini gives an unusual twist to the tale: there’s no magic, no fairy godmother, no glass slipper. Instead, he has Alidoro, a philosopher and Ramiro’s tutor, bring about the match between Angelina and his pupil. Jacopo Ferretti’s libretto replaces the supernatural with commedia dell’arteinspired figures like Ramiro’s servant Dandini, who switches places with his master, and the buffoon Magnifico. “Ramiro is looking for true love,” says Lawrence Brownlee, the renowned Rossini tenor who makes his debut with the COC in La Cenerentola. “Someone of his status can have any woman he wants, but he insists that his wife be someone with integrity. He knows instinctively that Angelina is that person the first time he sees her, but she still instructs him over the course of the opera. “Angelina’s mistreated by almost all the other characters but returns goodness for insults. In the final scene, Ramiro wants to punish those who haven’t been kind to her, but she dissuades him; in fact, everyone’s transformed through her goodness.” She teaches in other ways, too. As the mysterious beauty at the ball, Angelina leaves the prince not a glass slipper but rather one of a pair of bracelets; she asks him to return it to the woman who wears its partner. If the prince then still wants to wed the woman – Angelina doesn’t say she will appear as a poor kitchen maid – she will accept. In other words, Angelina sends her princely husband-to-be on yet another quest. And just as Sarastro directs Tamino toward wisdom, Alidoro guides Ramiro toward knowledge and happiness. “Characters like Alidoro and Sarastro are full of lived experience,” continues Brownlee, who has sung Ramiro in some 10 productions, including one at the Metropolitan Opera. “They’re part of the old school, and that’s something the younger

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THE MAGIC FLUTE: Vocal Royalty: Meet the Princes of Flute and Cenerentola

The COC presents La Cenerentola. Lawrence Brownlee (far right) as Don Ramiro in the Houston Grand Opera production, 2007. Photo: Brett Coomer

characters like Ramiro and Tamino, who are inherently good people and have the desire to grow, understand.” Brownlee will be especially close to his Alidoro in Toronto, Kyle Ketelsen. The two studied together at Indiana University and played on the same championship intramural basketball team. How does he feel about returning to a role he’s done a number of times before? “Plácido Domingo taught me something that always keeps a part fresh for me. He said you should always try to learn something new each time you return to a role. That’s

Canadian Opera Company 2010/2011 Season

a way of growing, of making the material appealing not only for the audience but also for the singer.”

Jon Kaplan is senior theatre writer at NOW Magazine. For further insights into The Magic Flute, please read Suzanne Vanstone's interviews with conductor Johannes Debus and set and costume designer Myung Hee Cho in the winter issue of Prelude, available online at coc.ca. This new COC production of The Magic Flute has been generously underwritten by the Catherine and Maxwell Meighen Foundation.

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SO YOU’VE EXPERIENCED AN OPERA. NOW WHAT?

OPERA FOR ADULTS

BY KATHERINE SEMCESEN

A (l – r) Johannes Debus, Christopher Alden and Brent Bambury at an Opera 101 event for The Flying Dutchman, 2010. Photo: COC

Canadian Opera Company 2010/2011 Season

cross Canada there is a strong and supportive community of opera enthusiasts of varying ages with diverse experience and knowledge of the art form. Their appetite for opera goes beyond the mainstage performances and they keep feeding their hunger by attending informal events at local libraries or trendy bars, keeping up-to-date on all things opera through the many opera blogs or podcasts, going to shorter opera recitals and free concerts, or participating in academic courses and conferences. It’s an opportunity to socialize with other opera aficionados and fill the opera need when not sitting in an opera house enjoying a performance. To support the individuals in the opera community, the COC is committed to offering the public a chance to learn, engage and develop a further understanding and appreciation for all things opera before and after a performance. Take the test and find out which COC program might satisfy your operatic needs!

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How many operas have you attended? A. 0 to 5 B. 5 to 9 C. 10 or more What type of events do you like to attend? A. Informal, one-off in-person or online event B. An informal event that is part of a series C. An in-depth and stimulating academic lecture Why do you enjoy opera? Pick the statement that relates to you the most. A. The social aspect and it’s a fun night out. B. The multidisciplinary storytelling nature of the art form. C. Listening to the music of different composers and experiencing the varied theatrical adaptations of each piece. Which opera excites you the most? A. La Bohème B. The Flying Dutchman C. Death in Venice Which opera character do you best relate to? A. Carmen B. Orfeo C. Mélisande

exploration of opera. You’ve already determined your favourite operas and are curious to get beyond the basics of the art form. Recommended COC programs: BMO Financial Group Pre-performance Opera Chats, Opera 101, Free Concert Series presented by National Bank, COC online Book Club, COC Podcasts, Live CBC Broadcasts, Opera Courses – Up & Coming Mostly C’s: You live, breathe and eat opera and the mainstream resources aren’t fulfilling your need to find out more. Operas like Death in Venice, War and Peace, Fidelio, Simon Boccanegra, Otello and Pelléas et Mélisande get regular play in your household. Recommended COC events: The Opera Exchange, Opera Courses – History of Opera and International Tours

FOR PROGRAM DETAILS VISIT COC.CA/EXPLORE! BMO Financial Group Pre-performance Opera Chats: Members of the COC Volunteer Speakers Bureau, an array of opera enthusiasts with substantial experience in opera, provide context to the operas through insightful chats 45 minutes before each performance in the Richard Bradshaw Amphitheatre. Chats are FREE with your performance ticket.

Mostly A’s: You’ve got your feet wet in the art form and you’re searching for the next step. Something casual, insightful, with an option to participate and lend your voice to the discussion. Recommended COC programs: BMO Financial Group Pre-performance Opera Chats, Opera 101, Free Concert Series presented by National Bank, Opera Talks, Parlando blog, COC Podcasts, Live CBC Broadcasts Mostly B’s: You’re hooked and you don’t shy away from commitment or deeper

Canadian Opera Company 2010/2011 Season

A BMO Financial Group Pre-performance Opera Chat in the Richard Bradshaw Amphitheatre. Photo: COC

OPERA FOR ADULTS

Free Concert Series in the Richard Bradshaw Amphitheatre presented by National Bank: Hear other opera companies, educational institutions, and the singers in the COC’s young artists training program, the Ensemble Studio, perform during a FREE noon-hour or evening concert.

COC Podcasts: Download COC music podcasts for your listening pleasure. Explore the musical highlights, plots, and background with COC hosts Gianmarco Segato and Gianna Wichelow and special guests from mainstage productions. Live CBC Broadcasts: CBC broadcasts all seven of the COC’s mainstage productions on Saturday Afternoon at the Opera and on occasion the COC hosts FREE online chats during the broadcasts of the operas where the public can speak directly with the singers, directors, and other cast and creative team members.

Sondra Radvanovsky performs as part of the Free Concert Series, presented by National Bank, 2010. Photo: Chris Hutcheson

Opera Courses – History of Opera: Explore a special period in operatic history through video recordings of live performances of operas. This year, the focus is on operas that are never or rarely performed on stages in North America but which are often staged in European houses with their more eclectic repertoire. International Opera Tours: Now in its 30th season, Dr. David Stanley-Porter’s thoughtfully planned itineraries bring you to cities renowned for their cultural and historic treasures. Discover opera around the world with the finest accommodations and excellent seating at sold-out performances! Opera 101: Enjoy a drink and an informal interview hosted by CBC radio personality, Brent Bambury, and a member of the COC’s cast and creative team of an upcoming mainstage opera. Events are FREE and take place in pubs and lounges in Toronto! 18

Canadian Opera Company 2010/2011 Season

The Opera Exchange: Local and international academics from an array of disciplines (i.e. music, sociology, literature, forensics, philosophy, etc.) lead in-depth explorations and analysis on operatic themes, music and dramatic interpretations of stories. Opera Courses – Up and Coming: An in-depth examination of contrasting stagings in preparation for the 2010/2011 COC opera season.

NEW IN 2010/2011! Opera Talks: In partnership with the North York Central Public Library in Toronto, COC speakers give FREE presentations on upcoming mainstage operas. Parlando Blog: Get the scoop on the COC 24-7! Frequent posts give you a timely account of what is happening at the company – from production load-ins, rehearsals, building of new productions, and more! Katherine Semcesen is Senior Manager, Education and Outreach at the Canadian Opera Company. For more information about all the COC's education and outreach events for all ages, please visit the Explore and Learn section at coc.ca.

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THE MAGIC FLUTE by Wolfgang Amadeus Mozart Opera in Two Acts, libretto by emanuel Schikaneder edited for the new Mozart edition (neue Mozart-Ausgabe) by Gernot Gruber and Alfred Orel. Used by arrangement with european American Music distributors llC, Sole US and Canadian agent for Baerenreiter, publisher and copyright owner.

first Performance: freihaus-Theater auf der Wieden, Vienna, 1791 New Production last performed on the mainstage by the COC in 1993 January 29, february 1, 3, 6, 8, 10, 12, 16, 18, 20, 23, 25, 2011 four Seasons Centre for the Performing Arts, Toronto Sung in German with english SUrTITleSTM

The CAsT (in order of vocal appearance)

Tamino First Lady Second Lady Third Lady Papageno Queen of the Night Monostatos Pamina First Spirit Second Spirit Third Spirit First Priest Second Priest Sarastro First Armed Man Second Armed Man The Speaker Papagena Conductor: Director: Associate Director: Set & Costume Designer: Lighting Designer: Chorus Master: Stage Manager: SURTITLESTM Producer:

Michael Schade*/ Frédéric Antoun** Betty Waynne Allison Wallis Giunta Lauren Segal Rodion Pogossov Aline Kutan John Easterlin Isabel Bayrakdarian* / Simone Osborne** Nicola Smith*/Celeste Gibson***/Kristen Li**** Emily Brown Gibson*/Robin Moir** Jacoba Barber Rozema*/Zoë Gotziaman** Neil Craighead Michael Barrett Mikhail Petrenko Gregory Carroll Michael Uloth Robert Gleadow† Lisa DiMaria Johannes Debus Diane Paulus Andrew Eggert Myung Hee Cho Scott Zielinski Sandra Horst Stephanie Marrs Gunta Dreifelds

Performance time is approximately two hours, 55 minutes with one intermission. * Jan. 29, feb. 1, 3, 6, 8, 12, 16, 18 ** feb. 10, 20, 23, 25 *** feb. 10, 20, 25 **** feb 23 The first, Second and Third Spirits are members of the Canadian Children’s Opera Company. Production Sponsor:

This new COC production of The Magic Flute has been generously underwritten by the Catherine and Maxwell Meighen Foundation. † Mr. Gleadow's performance is generously sponsored by Melanie Whitehead Mersch. This production of The Magic Flute is being recorded for future broadcast on CBC radio Two (94.1 fM in Toronto) on Saturday Afternoon at the Opera. Program information is correct at time of printing. All casting is subject to change.

Please visit coc.ca for additional information

AleXAnder neef, General director

first Performance: freihaus-Theater auf der Wieden, Vienna, 1791 New Production last performed by the COC ensemble Studio in 2005

ensemble studio Performance February 17, 2011 four Seasons Centre for the Performing Arts, Toronto Sung in German with english SUrTITleSTM

The CAsT (in order of vocal appearance)

Christopher Enns * Ileana Montalbetti Wallis Giunta Rihab Chaieb ** Adrian Kramer Ambur Braid Michael Barrett Simone Osborne Kristen Li Emily Brown Gibson Jacoba Barber Rozema Neil Craighead Adam Luther Michael Uloth Adam Luther Neil Craighead Neil Craighead Jacqueline Woodley Johannes Debus Diane Paulus Andrew Eggert Myung Hee Cho Scott Zielinski Sandra Horst Stephanie Marrs Gunta Dreifelds

Performance time is approximately two hours, 55 minutes with one intermission. The first, Second and Third Spirits are members of the Canadian Children’s Opera Company. The ensemble performance of The Magic Flute is sponsored by ARIAs. * Mr. enns’ performance is generously sponsored by Peter & hélène hunt. ** Ms Chaieb’s performance is generously sponsored by Katalin schäfer. The COC ensemble Studio is Canada’s premier training program for young opera professionals and provides advanced instruction, hands-on experience, and career development opportunities. The ensemble Studio is generously supported by the Government of Canada through the department of Canadian Heritage, ArIAS (formerly The Canadian Opera Volunteer Committee), In loving memory of Mr. George r. Bishop, from his family & friends, The John A. Cook Young Artist development fund, In honour of earlaine Collins, In honour of ninalee Craig, Michael & lora Gibbens, ethel Harris, The Audrey S. Hellyer Charitable foundation, Peter & Hélène Hunt, Patrick & Barbara Keenan, The Hal Jackman fund at the Ontario Arts foundation, Jo lander, ruby Mercer fund, George Cedric Metcalf Charitable foundation, roger d. Moore ensemble Studio endowment fund, rBC foundation, Katalin Schäfer, In honour of Colleen Sexsmith, The Slaight family, The Stratton Trust, William & Phyllis Waters, and an anonymous donor.

Program information is correct at time of printing. All casting is subject to change. 2

Canadian Opera Company 2010/2011 Season

dIreCTOr’S nOTeS

DIRECTOR’S NOTES

n creating a new production of The Magic Flute – one of the most beloved of all Mozart operas – the creative team has focused on what makes the story so engagingly theatrical for audiences of every generation. We have sought to explore the layers of comedy, fairytale, and myth that come together in live performance. The entire opera has been re-imagined as a play-within-the-play – a performance being created before our eyes by the members of a household and their guests, in celebration of the name day of the opera’s heroine, Pamina. It is something out of the world of Shakespearean comedy, where the concepts of the theatre and the stage are presented for what they can reveal to us about our own real-world natures. Pamina and Tamino begin their journey to love and enlightenment as living and breathing actors treading the boards of an outdoor stage. We have set the action in 1791, the year in which the opera was first performed, against the backdrop of the Enlightenment. The entire play-within-the-play is presented in the open space of a nobleman’s garden, itself a place of enchantment and symbolic power during this historical period. As the drama unfolds, the actors leave the theatre behind and continue to enact their story in an elaborate labyrinth that covers the grounds of the estate. The theatricality of their journey is enhanced by the mysteries of the outdoor world beneath the cover of night where they act out the rituals of the drama. All distinctions between fantasy and reality fade away as their pageant lasts through the night until dawn.

Please visit coc.ca for additional information

For Enlightenment thinkers, journeying through the architectural spaces created by a labyrinth held a metaphorical significance, as well as an aesthetic appeal. The opera references the rites and rituals of the Freemasons, the Enlightenment society in which Mozart and the librettist Emanuel Schikaneder were lodge brothers. In Masonry, a journey through a maze symbolized the passage from death to re-birth, as well as the cyclical progression from night to day. In our production, especially important is the journey of the heroine Pamina, whose admission to the Temple of Wisdom and participation in the trials by fire and water is essential to the outcome, for only in the union of the male and female do the characters successfully pass through the trials. In this complex world of imagination, illusion, and engaged performance, we hope The Magic Flute will become a new living experience for every member of our audience as well. Diane Paulus

SYnOPSIS

SYNOPSIS ACT I Prince Tamino is pursued by a serpent. He collapses and is saved by Three Ladies who slay the serpent and leave to tell their queen of his arrival in their land. Tamino revives as Papageno, a birdcatcher, enters. When Papageno claims responsibility for slaying the serpent, the Three Ladies reappear and padlock his mouth as punishment for lying. They give Tamino a portrait of a young woman, with whom Tamino falls immediately in love. She is Pamina, the Queen of the Night’s daughter, and captive of Sarastro. The Queen herself appears and tells Tamino that if he rescues her daughter, Pamina will be his forever. The Three Ladies remove Papageno’s padlock giving him a set of magic chimes, with instructions to accompany Tamino. The Ladies give Tamino a magic flute which will protect him from danger. Three Spirits guide Tamino and Papageno on their journey. In Sarastro’s palace Pamina is pursued by the lustful slave Monostatos. Papageno saves her and tells Pamina that her mother has sent a handsome prince to rescue her, one who is already in love with her. Pamina is overjoyed and together they reflect on the importance of love. The Three Spirits bring Tamino to the Temples of Wisdom, Reason and Nature. The Speaker enters from the Temple of Wisdom and informs him that the Queen of the Night is the villain, not Sarastro, as he will understand when he enters the temple. He leaves in search of Papageno, who, with the help of his magic chimes, saves Pamina once more from Monostatos. Sarastro enters and tells Pamina he cannot let her return to her mother. Tamino is brought in and he and Pamina joyfully meet at last.

Canadian Opera Company 2010/2011 Season

Tamino and Papageno prepare to be tested for admittance to the brotherhood. INTeRMIssION

ACT II Near the temple Sarastro leads a prayer to Isis and Osiris, to assist Pamina and Tamino. Tamino and Papageno begin the first test, during which they must remain silent. The Three Ladies try to tempt them to talk, only succeeding with Papageno. Pamina is saved from Monostatos with the appearance of the Queen of the Night who demands that her daughter kill Sarastro. Alone, she is once again accosted by Monostatos, but Sarastro enters and chases the slave away. Sarastro comforts Pamina, telling her that love, not vengeance, lives in the walls of the Temple. In the Temple a hooded crone appears to Papageno, claiming that she is his sweetheart. She disappears and the Three Spirits appear, returning the magic flute and chimes to Tamino and Papageno. Pamina enters but Tamino will not speak to her, leaving her heartbroken. In the inner sanctum of the temple, Sarastro calls for Tamino and Pamina to be brought forth. Tamino has two more trials to go, the most dangerous ones. The old crone reappears to Papageno. He tells her he’d rather have her than nothing. She removes her disguise revealing a beautiful young woman. She’s immediately whisked away, as Papageno is still unworthy of her. Pamina is prevented from taking her life by the Three Spirits and is reunited joyfully with Tamino, in time to take his last two

trials with him, those of fire and water. They emerge triumphant, earning admission to the order as initiates. The Three Spirits prevent Papageno from taking his own life, reminding him

to play his chimes. Papagena appears and the two lovers are together at last. The Queen of the Night attempts to seize power from Sarastro but is defeated. All celebrate the triumph of Tamino and Pamina.

MusIC sTAFF

Rachel Andrist (Head Coach) Jean Desmarais Anne Larlee (Ensemble Studio Intern Coach) GeRMAN DICTION COACh

Adi Braun AssIsTANT CONDuCTOR

Kevin Murphy AssIsTANT DIReCTOR

Ashlie Corcoran AssIsTANT sTAGe MANAGeRs

Lesley Abarquez Kate Porter AssIsTANT LIGhTING DesIGNeRs

Wendy Greenwood Jareth Li uNDeRsTuDIes

Tamino First Lady Second Lady Third Lady Papageno Queen of the Night Monostatos Second Priest Sarastro First Armed Man Second Armed Man The Speaker Papagena

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Christopher Enns Ileana Montalbetti Heather Jewson Rihab Chaieb Adrian Kramer Ambur Braid Michael Barrett Adam Luther Michael Uloth Adam Luther Neil Craighead Neil Craighead Jacqueline Woodley

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ARTISTS’ BIOGRAPHIES BETTY WAYNNE ALLISON First Lady (M)

Canadian soprano and Ensemble Studio graduate Betty Waynne Allison recently appeared as the Priestess in Aida. Ms Allison’s performances in Ensemble productions included Fiordiligi in Così fan tutte, Donna Elvira in Gazzaniga’s Don Giovanni and Mona in the world premiere of Swoon. On the mainstage she has covered and performed a wide range of roles, including Donna Anna in Don Giovanni, Annina in La Traviata, the title role in Luisa Miller, Turnspit and the title role in Rusalka, Freia in Das Rheingold, Marguerite in Faust, the Countess in Le nozze di Figaro, Tatiana in Eugene Onegin and Amelia in Simon Boccanegra. The British Columbia native recently returned from Europe as the Canadian representative to the first ever Stella Maris Vocal Competition, placing first in the oratorio class and fourth overall. Other recent competition successes include being a regional finalist at the Metropolitan Opera National Council Auditions, a Silver Medal in the Czech Slovak International Competition, Grand Prizes at the Ottawa Choral Society New Discovery and West Palm Beach Opera competitions and a top prize from Jeunes Ambassadeurs Lyriques (2009). FRÉDÉRIC ANTOUN Tamino (M)

French-Canadian tenor Frédéric Antoun makes his COC debut in this production. Recent credits include Belmonte in Die Entführung aus dem Serail with

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Opera Atelier; Handel’s Messiah with the Oregon Symphony Orchestra; Mylio in Le roi d’Ys in New York with the American Symphony Orchestra; Chevalier de la Force in Dialogues des Carmélites with Opéra de Nice; Belmonte with the Orchestra of the Age of Enlightenment on tour in Spain, France and England; Tamino at Théâtre du Châtelet and Opera Montpellier; Florival in L’amant jaloux in a joint production at the Opéra-Comique and Centre de Musique Baroque de Versailles; Prince Charmant in Cendrillon at Opéra de Montréal and Opéra de Marseilles; and, Almaviva in Il barbiere di Siviglia at Florida Grand Opera. Future appearances include Tamino with Opéra d’Avignon et des Pays de Vaucluse in Avignon, France; Ferrando in Così fan tutte with Deutsche Oper am Rhein; Achille in Iphigénie en Aulide at De Nederlandse Opera; and, Prince Charmant in Cendrillon at Théâtre Royal de la Monnaie. MICHAEL BARRETT second Priest (M)/Monostatos (e)

Born in Newfoundland, tenor Michael Barrett is a former member of the COC Ensemble Studio. Mr. Barrett recently sang with the COC as an American and Gondolier in Death in Venice. Previous COC roles include the High Priest of Neptune in the Ensemble Studio’s performance of Idomeneo, Trojan Man 1 in both the mainstage and Ensemble performances of Idomeneo, Lieutenant Bonnet and Aide de Camp to General Compans in War and Peace, First Prisoner in Fidelio, the Gamekeeper in Rusalka, Captain of Archers in Simon Boccanegra, Parpignol in La Bohème, Snout in A Midsummer Night’s Dream and Ferrando in the Ensemble

ArTISTS’ BIOGrAPHIeS

Studio production of Così fan tutte. At the University of Toronto Opera School he performed Eisenstein in Die Fledermaus, and regularly appears with the Aldeburgh Connection, where he performed in Our Story for the 25th anniversary celebrations. ISABEL BAYRAKDARIAN Pamina (M)

Grammy-nominated soprano Isabel Bayrakdarian returns to the COC after appearing as Ilia in Idomeneo. Previous COC appearances for the Canadian soprano include Mélisande in Pelléas et Mélisande, Susanna in Le nozze di Figaro, Cleopatra in Giulio Cesare, Zerlina in Don Giovanni and Rosina in The Barber of Seville. In the 2009/2010 season, she sang the role of Ilia with Opéra national de Paris, the title role in The Cunning Little Vixen with Maggio Musicale Florence under Seiji Ozawa, and Leila in Les pêcheurs des perles with Minnesota Opera. Recent operatic highlights include her debut at Barcelona’s Gran Teatre del Liceu in the title role in L’incoronazione di Poppea; the title role in Marie Galante with Opéra Français de New York; Pamina, Teresa in Benvenuto Cellini and Catherine in View from the Bridge at the Metropolitan Opera; the Vixen at the Saito Kinen Festival in Japan; and, Blanche in Dialogues des Carmélites at the Lyric Opera of Chicago. She has won four Juno awards, and is the first prize winner of the 2000 Operalia Competition. This season with the COC, Ms Bayrakdarian will also perform Euridice in Orfeo ed Euridice.

Canadian Opera Company 2010/2011 Season

AMBUR BRAID Queen of the Night (e)

Toronto-based soprano Ambur Braid is a new member of the COC Ensemble Studio. She recently appeared as the Danish Lady in Death in Venice. She holds her bachelor of music degree from The Glenn Gould School of The Royal Conservatory of Music and her master of music from the San Francisco Conservatory of Music. Ms Braid has performed the role of Diane in Iphigénie en Tauride with Opera Atelier; Konstanze in Die Entführung aus dem Serail, the Queen of the Night, Princess/Fire in L’enfant et les sortilèges and Peaseblossom in A Midsummer Night’s Dream with the San Francisco Conservatory; and, Hippolyta in A Midsummer Night’s Dream with The Glenn Gould School. She has won the East Bay Opera Competition, the San Francisco Conservatory Concerto Competition, and the Palm Beach Opera Competition. With the COC this season she will also perform Amore in Orfeo ed Euridice and understudy roles in La Cenerentola and Ariadne auf Naxos. GREGORY CARROLL First Armed Man (M)

American tenor Gregory Carroll makes his COC debut with this production. Mr. Carroll’s recent operatic credits include Canio in Pagliacci with Opera Cleveland, Rodolfo in Luisa Miller for Puget Sound Opera, Bacchus in Ariadne auf Naxos as a guest of the Seattle Opera Young Artist Program, a workshop of Jeremy Sams’ Enchanted Island for the Met and Canio with Spokane Opera. As a member of the 2009 Merola Program at San Francisco Opera Center, Mr. Carroll was featured as Erik in Der fliegende Holländer and in

scenes as Walther von Stolzing in Die Meistersinger von Nürnberg and Doctor Caius in Falstaff. He also appeared in concert with the Tacoma Symphony for Handel’s Messiah, with the Skagit Symphony for Bach’s Magnificat, and the Northwest Symphony for Gounod’s Messe Solennelle de Sainte Cécile. He is a recipient of grants from the Metropolitan Opera and Wagner Society of Northern California, and was awarded the Wagner Prize from the Irene Dalis Vocal Competition. This season with the COC, Mr. Carroll will understudy the role of the Tenor/Bacchus in Ariadne auf Naxos. RIHAB CHAIEB Third Lady (e)

Tunisian-born mezzosoprano Rihab Chaieb is a new member of the COC Ensemble Studio. She recently appeared as the French Mother in Death in Venice. She graduated from the Schulich School of Music at McGill University with a bachelor of music in vocal performance, where she performed the title role in Carmen, Baba the Turk in The Rake’s Progress, Sister Mathilde in Dialogues des Carmélites, and Suzy in La Rondine. Ms Chaieb recently performed Dido in Dido and Aeneas with the McGill Chamber Orchestra and Third Spirit in Die Zauberflöte with Opéra de Montréal. She has studied with the Franz Schubert Institute in Baden bei Wien (Austria), Opera Nuova in Edmonton and the International Vocal Art Institute in Tel Aviv. With the COC this season, Ms Chaieb will also perform the roles of the Second Secretary to Mao in Nixon in China and Tisbe in La Cenerentola, and will understudy Dryad in Ariadne auf Naxos.

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NEIL CRAIGHEAD First Priest (M/e)/The speaker (e)/second Armed Man (e)

Born in Cape Town, South Africa, bass-baritone and COC Ensemble Studio member Neil Craighead was raised in Calgary. His last COC appearance was as the Russian Father in Death in Venice. Previous COC appearances include the Oracle and the Trojan Man in Idomeneo, Japanese Envoy 2 in The Nightingale and Other Short Fables, and the Official Registrar in Madama Butterfly. Mr. Craighead graduated from the University of British Columbia in 2009 with a bachelor of music and was a member of the Vancouver Opera Chorus. He recently performed Don Alfonso in Così fan tutte and Sarastro in Die Zauberflöte with Opera NUOVA; the bass solo in St. John’s Passion with Vancouver Voices; and, Pistola in Falstaff, Dr. Furtwängler in The Dream Healer and Colline in La Bohème with University of British Columbia Opera Ensemble. With the COC this season, Mr. Craighead also understudies roles in La Cenerentola and Ariadne auf Naxos. LISA DIMARIA Papagena (M)

Soprano Lisa DiMaria is a former member of the COC Ensemble Studio. COC appearances include the Second Wood Nymph in Rusalka, Despina in the Ensemble Studio production of Così fan tutte, Dunyasha in War and Peace, Donna Anna/Maturina in the Ensemble Studio production of Gazzaniga’s Don Giovanni, Zerlina in Mozart’s Don Giovanni, the Prostitute in From the House of the Dead, Barbarina in The Marriage of Figaro and a performance in the Richard Bradshaw tribute concert.

ArTISTS’ BIOGrAPHIeS

She is a graduate of the University of Toronto Opera School with a bachelor of music and a master’s degree in opera performance. Operatic credits include: Barbarina, Adele in Die Fledermaus and Female Chorus in The Rape of Lucretia with UofT; Zerlina in Don Giovanni with Saskatoon Opera Association and the Toronto Summer Music Academy and Festival; and, Susanna in Le nozze di Figaro in the COSI summer program in Italy. In 2012 she will make her debut with both Pacific Opera Victoria and Calgary Opera. JOHN EASTERLIN Monostatos (M)

American tenor John Easterlin makes his COC debut with this production. Recent credits include Herod in Salome at Wiener Staatsoper; Prince Nilsky in The Gambler at Royal Opera House Covent Garden; Jack O’Brien and Toby Higgins in The Rise and Fall of the City of Mahagonny at Teatro Real Madrid; Squeak in Billy Budd and the Hunchback Brother in Die Frau ohne Schatten at Opéra national de Paris; and, The Magician in The Consul with Glimmerglass Opera. Mr. Easterlin is a multi-Grammy, Emmy, Peabody, Tony and Olivier award recipient and the holder of two Guinness world records. This season with the COC Mr. Easterlin will also perform the roles of the Dancing Master and Brighella in Ariadne auf Naxos. Future engagements include Alfred in Die Fledermaus at the Lake George Festival, Teatro Real’s production of The Rise and Fall of the City of Mahagonny at the Bolshoi in Moscow, the Steuermann in Der Fliegende Holländer at Royal Opera House Covent Garden, the Shabby Peasant in Lady Macbeth of Mtsensk with Teatro Real, and the Scrivener in Mussorgsky’s Khovanshchina at the Met.

Canadian Opera Company 2010/2011 Season

CHRISTOPHER ENNS Tamino (e)

Born in Manitoba, tenor Christopher Enns is a new member of the COC Ensemble Studio. He recently appeared with the COC as an American, Glass Maker, and Strolling Player in Death in Venice. He holds his bachelor of vocal performance from the University of Manitoba, and graduated from the University of Toronto with a diploma in operatic performance. Recent performances include the title role in Candide, Ecclitico in Il mondo della luna, and Gonsalve in L’heure espagnole with the University of Toronto’s Opera Division, Alfred in Die Fledermaus with Highlands Opera Studio and Gastone in La Traviata with Saskatoon Opera. Mr. Enns has performed with the Toronto Summer Music Academy, Opera NUOVA, the Winnipeg Symphony and the Aldeburgh Connection. This season with the COC, he will also perform the role of Scaramuccio in Ariadne auf Naxos. WALLIS GIUNTA second Lady (M/e)

A native of Ottawa, mezzo-soprano and Ensemble Studio member Wallis Giunta last performed with the COC as the English Lady in Death in Venice. Previously, she performed the role of Cretan Woman in the Ensemble Studio performance of Idomeneo and covered the role of Mercédès in Carmen. Other operatic credits include Dorabella in Così fan tutte, Cherubino in Le nozze di Figaro, Hermia in A Midsummer Night’s Dream and Nancy in Albert Herring. She has sung with Opera Atelier, Opera Lyra Ottawa, the Ravinia Festival, and the Regina Symphony. Last season, Ms Giunta was winner of the Ottawa Choral Society New

Discoveries Auditions, received a George London Competition Encouragement Award and was a grant recipient of the Canada Council for the Arts. Upcoming engagements include recitals for the Caramoor Festival, New York Festival of Song, Amici Chamber Ensemble and Music Toronto, and she will be joining the Metropolitan Opera Lindemann Young Artist Development Program for the 2011/2012 season. This season with the COC Ms Giunta covers the roles of Nancy T’sang in Nixon in China and Angelina in La Cenerentola. ROBERT GLEADOW The speaker (M)

Canadian bass-baritone Robert Gleadow is a former member of the COC Ensemble Studio. Previous appearances with the COC include Theseus in A Midsummer Night’s Dream, Colline in La Bohème, the title role in The Marriage of Figaro, the Old Gypsy in Il Trovatore, the Ensemble Studio production of Dido and Aeneas/The Coffee Cantata and performances at the Altamira Summer Opera Concerts. He is also a graduate of the Jette Parker Young Artists Program of the Royal Opera House Covent Garden, where he performed as Colline, Masetto in Don Giovanni and Sam in Un ballo in maschera, amongst others. Recent operatic credits include Leporello in a tour of Don Giovanni and Guglielmo in Così fan tutte with the Glyndebourne Festival, his Houston Grand Opera debut as Angelotti in Tosca, and Colline in Abu Dhabi. Future appearances include a return to Houston Grand Opera as Truffaldino in Ariadne auf Naxos, Aeneas in Dido and Aeneas with the Verbier Festival, and Pete in Two Boys with the English National Opera.

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ADRIAN KRAMER Papageno (e)

Baritone and Ensemble Studio member Adrian Kramer was born in Guelph, Ontario. Previously with the COC, he appeared as the Hotel Waiter in Death in Venice, and understudied the roles of Moralès and Le Dancaïre in Carmen, Japanese Envoy 3 in The Nightingale and Other Short Fables and Prince Yamadori and Yakuside in Madama Butterfly. He holds a bachelor of music from the Juilliard School of Music and a master’s degree from the Curtis Institute of Music in Philadelphia where he studied with Marlena Malas. Mr. Kramer previously sang Pelléas in Pelléas et Mélisande with Curtis Opera Theatre and Sid in Albert Herring with the Châteauville Festival. He has performed with Glimmerglass Opera, the Chautauqua Institution, Mendelssohn Club, and the Steans Institute at the Ravinia Festival. In 2005, he was the winner of the Juilliard Honors Recital Competition. This season he also understudies roles in Nixon in China, La Cenerentola and Ariadne auf Naxos. ALINE KUTAN Queen of the Night (M)

Canadian coloratura Aline Kutan makes her COC debut with this production. Ms Kutan has sung this role in major houses internationally, including Paris-Bastille, Toulouse, Marseille, the Glyndebourne Festival, Chorégies d’Orange, Lanaudière International Festival, San Carlo Naples, New York City Opera, Montreal Opera and Opéra de Monte-Carlo. Recent operatic credits include the world premiere of Fénelon’s Les Rois in Bordeaux; her debut at La Scala with Muti in Salieri’s Europa Riconosciuta; Messiaen’s St. Francis of

ArTISTS’ BIOGrAPHIeS

Assisi with Kent Nagano and the Montreal Symphony; and, Konstanze (The Abduction from the Seraglio) with London’s Orchestra of the Age of Enlightenment in Toulouse. Other highlights include roles in Lakmé, Ariadne auf Naxos, Le Rossignol, The Rake’s Progress, Le Comte Ory, Die Fledermaus, Alcina, L’enfant et les Sortilèges, Ruslan and Lyudmila, The Tales of Hoffmann and Parsifal. Ms Kutan has collaborated with numerous conductors including the late Sir Charles Mackerras and Richard Bradshaw, Charles Dutoit, James Conlon, Yannick Nézet-Séguin, Raffi Armenian, Jacques Lacombe, Julius Rudel, Gustav Kuhn, Jonathan Darlington and Vladimir Jurowski. Future appearances include Queen of the Night at Michigan Opera and an appearance at Teatro Colón in Buenos Aires. ADAM LUTHER second Priest (e)/ First Armed Man (e)

Newfoundland-born tenor Adam Luther is a former member of the COC Ensemble Studio. Last season with the COC, Mr. Luther appeared as Arbace in the Ensemble Studio performance and the High Priest of Neptune in the mainstage performance of Idomeneo, The Steersman in The Flying Dutchman, Roderigo in Otello, Le Remendado in Carmen, and Tenor 1 and Japanese Envoy 1 in The Nightingale and Other Short Fables. Other COC credits include Ferrando in the Ensemble Studio production of Così fan tutte, Lysander in A Midsummer Night’s Dream, Jaquino in Fidelio, and the Footman, General Konovnitsyn and Fyodor in War and Peace. Other operatic credits include Alfred in Die Fledermaus and Male Chorus in The Rape of Lucretia with the UofT Opera School, Stefano in Filumena in Banff, and Tamino in The Magic Flute with the Guelph Symphony Orchestra. This season,

Canadian Opera Company 2010/2011 Season

he will sing Anatol in Vanessa at Pacific Opera Victoria, Eisenstein in Die Fledermaus with Toronto Operetta and reprise his roles in The Nightingale and Other Short Fables at the Brooklyn Academy of Music. ILEANA MONTALBETTI First Lady (e)

Originally from Saskatoon, soprano and Ensemble Studio member Ileana Montalbetti recently performed with the COC as the Russian Mother and Newspaper Seller in Death in Venice. Previous COC performances include Anna Kennedy in Maria Stuarda, Elettra in the Ensemble Studio performance of Idomeneo, Fiordiligi in the Ensemble Studio production of Così fan tutte and Mavra Kuzminichna in War and Peace. She has held two consecutive soprano fellowships at the Tanglewood Music Centre where, most notably, she sang the Celestial Voice in a concert version of Don Carlos under the baton of Maestro James Levine. Ms Montalbetti is a graduate of the opera diploma program at the UofT, where she performed the roles of Rosalinde in Die Fledermaus, Countess Almaviva in The Marriage of Figaro and the Female Chorus in The Rape of Lucretia. She has appeared as Donna Anna in Don Giovanni for Saskatoon Opera and the Toronto Summer Music Academy. This season Ms Montalbetti also appears as Clorinda in La Cenerentola and understudies the role of Pat Nixon in Nixon in China.

SIMONE OSBORNE Pamina (M/e)

Soprano Simone Osborne is a member of the COC Ensemble Studio. Recent COC appearances include Death in Venice, Maria Stuarda, Carmen and the Ensemble performance of Idomeneo. Other credits include Laetitia in The Old Maid and the Thief (Wexford Opera Festival), the title role in Mignon (Music Academy of the West) and a dozen roles with the University of British Columbia’s Opera Ensemble. She has been a featured soloist with the symphony orchestras of Vancouver, Edmonton, Prince George, the North Bohemian Opera, Vancouver Opera and the West Coast Symphony, and has presented solo recitals for the National Arts Centre in Ottawa, the Hong Kong International Arts Festival and the Marilyn Horne Foundation in New York. Ms Osborne is a winner of the Metropolitan Opera National Council Auditions, the Marilyn Horne Foundation Competition and a recipient of the Sylva Gelber Music Foundation and Jacqueline Desmarais Foundation grants. This season, Ms Osborne also appears as Naiad in Ariadne auf Naxos and understudies Euridice in Orfeo ed Euridice with the COC, and makes her Carnegie Hall recital debut. MIKHAIL PETRENKO sarastro (M)

St. Petersburg-born bass Mikhail Petrenko makes his COC debut with this production. Mr. Petrenko has toured extensively with the Mariinsky Theatre and Valery Gergiev, and has worked with numerous conductors including James Levine, Vladimir Jurowski, Daniel Harding, Yannick Nézét-Seguin, Daniel Barenboim, Pierre Boulez and Esa-Pekka Salonen. He has

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performed with the Opéra national de Paris Bastille, the Met, Salzburg Festival, Royal Opera House Covent Garden, Deutsche Staatsoper Berlin, Hamburgische Staatsoper and Aix-en-Provence Festival. His concert appearances include performances with Montreal Symphony Orchestra, San Francisco Symphony Orchestra, Swedish Radio Symphony Orchestra, Rotterdam Philharmonic Orchestra, Orchestre de Paris, Chicago Symphony Orchestra and the London Philharmonic Orchestra. Mr. Petrenko’s future operatic engagements include Gremin in Eugene Onegin and Filippo in Don Carlo, both at the Netherlands Opera; Die Walküre and Götterdämmerung at the Deutsche Staatsoper Berlin and Teatro alla Scala; Pimen in Boris Godunov at the Met, and, the title role in Ruslan and Lyudmila with the Bolshoi Opera. He will also be appearing in concerts worldwide. RODION POGOSSOV Papageno (M)

Born in Moscow, baritone Rodion Pogossov last appeared with the COC in 2008 as Figaro in The Barber of Seville. Recent engagements include Papageno at the Théâtre du Capitole Toulouse and at the Met, Figaro at the Met, L’elisir d’amore with Oviedo Opera, Valentin in Faust with Bilbao Opera, Il barbiere di Siviglia at the Hamburgische Staatsoper, Guglielmo in Così fan tutte at the Ravinia Festival under the baton of James Conlon, and Carmina Burana in Madrid with the Orquesta Nacional de España. He has recorded excerpts from Pagliacci, Faust and Tannhäuser with the Novaya Opera Orchestra and the Savonlinna Opera Festival Choir, and recently recorded a solo recital disc for the EMI debut series. Future engagements include Dandini in La Cenerentola and Figaro at the Met, L’elisir d’amore at the

ArTISTS’ BIOGrAPHIeS

Glyndebourne Festival, Posa in Don Carlos at the Hamburgische Staatsoper and Il barbiere di Siviglia at the Teatro Municipal de Santiago in Chile. MICHAEL SCHADE Tamino (M)

Canadian tenor Michael Schade returns to the COC after portraying the Prince in Rusalka. Previous COC appearances include Oedipus Rex, Il viaggio a Reims, Idomeneo, Die Zauberflöte, Il barbiere di Siviglia and L’elisir d’amore. Recent performances include Nicias in Thaïs (Decca DVD with Renée Fleming) at the Met; his role debut as Aschenbach in Death in Venice in Hamburg; Die Meistersinger, Arabella, Die Zauberflöte, Capriccio, Idomeneo, L’elisir d’amore, Daphne, Lucio Silla, Il barbiere di Siviglia, Così fan tutte, Die Fledermaus, La Traviata, Die schweigsame Frau and Don Giovanni with the Vienna State Opera; La clemenza di Tito, Armida, King Arthur, Don Giovanni and Die Zauberflöte at the Salzburg Festival; Don Giovanni and Carl Nielsen’s Maskerade at Royal Opera House Covent Garden; and, Die Zauberflöte at the Lyric Opera of Chicago and the Washington National Opera. Mr. Schade is the first Canadian to be awarded the title of Kammersänger by the Austrian Government. He also serves as the artistic director of the Hapag Lloyd Stella Maris International Vocal Competition and is the creator of the Salzburg Young Singer’s Project. LAUREN SEGAL Third Lady (M)

Canadian mezzo-soprano Lauren Segal, a graduate of the COC Ensemble Studio, recently appeared with the COC as

Canadian Opera Company 2010/2011 Season

Mercédès in Carmen. Previous COC appearances include Sonya in War and Peace, Aljeja in From the House of the Dead and Siebel in Faust. Other credits include Maddalena in Rigoletto for Opéra de Montréal, Messiah with Vancouver Bach Choir, Dorabella in Così fan tutte with Pacific Opera Victoria, Suzuki in Madama Butterfly with Manitoba Opera, Sesto in La clemenza di Tito for the Orford Arts Festival, Orlovsky in Die Fledermaus for Opera Hamilton and Rosina in Il barbiere di Siviglia with the Toronto Summer Music Festival. Ms Segal has sung in opera galas for the National Arts Centre in Ottawa and with Toronto’s Mendelssohn Choir and was a recitalist at Festivoix and the Westben and Bayfield festivals. This season with the COC she will also appear as Nancy T’Sang in Nixon in China and Dryad in Ariadne auf Naxos. MICHAEL ULOTH second Armed Man (M)/sarastro (e)

Born in Kitchener, bass COC Ensemble Studio member Michael Uloth recently appeared with the COC as the Priest in St. Mark’s in Death in Venice. Previous roles with the COC include The Bonze in The Nightingale and Other Short Fables, the Imperial Commissioner in Madama Butterfly, Don Alfonso in the Ensemble Studio production of Così fan tutte, Snug in A Midsummer Night’s Dream and Gavrila in War and Peace. An alumnus of Glimmerglass Opera’s Young American Artists Program, other operatic credits include Bartolo in Le nozze di Figaro, Il Re di Scozia in Ariodante, Collatinus in The Rape of Lucretia, Superintendent Budd in Albert Herring and Reverend John Hale in The Crucible. Mr. Uloth is a graduate of the University of Toronto with a master of music in opera, and holds a bachelor

of music and an opera diploma from Wilfrid Laurier University. This season, Mr. Uloth also appears as Truffaldino in Ariadne auf Naxos. JACQUELINE WOODLEY Papagena (e)

Soprano Jacqueline Woodley is a new member of the COC Ensemble Studio. She recently appeared as the Lace Seller in Death in Venice. She holds both her bachelor’s degree and a master in opera performance from McGill University and also trained at Opera NUOVA in Edmonton and for three years with the International Vocal Arts Institute in Tel Aviv and Montreal. Ms Woodley’s past operatic roles include Lisette in La Rondine, Helena in A Midsummer Night’s Dream, Miss Wordsworth in Albert Herring, Pamina in Die Zauberflöte, Serpina in La serva padrona, Despina in Così fan tutte and Belinda in Dido and Aeneas. As a soloist, she has performed in Bach’s St. John Passion, Handel’s Messiah and Dixit Dominus, Fauré’s Requiem, Mozart’s Vesperae solennes de confessore and Saint-Saëns’ Christmas Oratorio. This season with the COC, Ms Woodley will also understudy Amore in Orfeo ed Euridice.

JOHANNES DEBUS Conductor

COC Music Director Johannes Debus made his COC debut conducting War and Peace, and recently conducted Aida, the COC’s Diamond Anniversary Concert and the company’s signature production of The Flying Dutchman. Mr. Debus obtained his musical education at Hamburg

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Conservatorium, before being engaged at Oper Frankfurt in 1998 as répétiteur and Kapellmeister. There he acquired an extensive repertoire ranging from works by Mozart, Rossini, Verdi, Wagner and Puccini, to Strauss, Berg, Britten and Henze. Recent operatic credits include Salome with Bayerische Staatsoper as well as a new production of Thomas Adès’ The Tempest for Oper Frankfurt. In the summer of 2010, Mr. Debus made his debut at the Spoleto Festival in Italy with Hans Werner Henze’s opera Gogo no eiko (The Sailor Who Fell from Grace with the Sea), as well as his debut at the Tanglewood Festival, replacing James Levine and conducting The Abduction from the Seraglio with the Boston Symphony Orchestra. Upcoming engagements include his return to Bayerische Staatsoper for performances of Mozart’s Die Entführung aus dem Serail. DIANE PAULUS Director

Director Diane Paulus makes her COC debut with this production. Currently the Artistic Director at the American Repertory Theater (A.R.T.), her directing credits there include Johnny Baseball, Best of Both Worlds and The Donkey Show, a disco adaptation of A Midsummer Night’s Dream which ran for six years off-Broadway. She directed the Public Theater’s 2009 revival of HAIR on Broadway and in London’s West End. HAIR earned eight Tony nominations, including Best Director, and won Best Revival of a Musical, as well as receiving a Drama Desk award, Outer Critics Circle award and the Drama League award for Best Revival of a Musical. Other recent work includes Kiss Me, Kate (Glimmerglass Opera) and Lost Highway (ENO co-production with the Young Vic). Operatic credits include Il mondo della

ArTISTS’ BIOGrAPHIeS

luna (Gotham Chamber Opera at the Hayden Planetarium); Don Giovanni, Le nozze di Figaro, The Turn of the Screw, Così fan tutte, Il ritorno d’Ulisse in patria, L’incoronazione di Poppea, and Orfeo at Chicago Opera Theater. Upcoming at the A.R.T.: A musical revival of Porgy and Bess opening in September 2011. ANDREW EGGERT Associate Director

Freelance director Andrew Eggert makes his COC debut with this production. He recently directed Mosè in Egitto and La Tragédie de Carmen at Chicago Opera Theater after eight seasons with that company as assistant director. As staff director of the Young American Artists Program at Glimmerglass Opera, Mr. Eggert worked as assistant director of new productions including Orlando Paladino, Don Giovanni, Patience and Death in Venice. Other projects include staging apprentice scenes at Santa Fe Opera and Wolf Trap Opera, and associate directing Gotham Chamber Opera’s production of Il mondo della luna with Diane Paulus at the Hayden Planetarium in New York. He has been a guest director at Roosevelt University’s Chicago College of Performing Arts, Princeton University and the Yale Baroque Opera Project. His new production of Mourning Becomes Electra was selected as a winner of Opera America’s 2009 Director-Designer Showcase. Mr. Eggert is a graduate of Yale College, where he studied English with an emphasis on dramatic literature, and is currently pursuing a PhD at the Music Department of Columbia University in New York.

Canadian Opera Company 2010/2011 Season

MYUNG HEE CHO set and Costume Designer

American set and costume designer Myung Hee Cho makes her COC debut with this production. A graduate of Cooper Union and Yale School of Drama, she has designed for theatre, opera, dance and other special productions. Ms Cho has designed for numerous world premieres, including Back to Bacharach and David, Awaking for Singapore Theatre Festival, costumes for Yellow Face at the Mark Taper Forum and The Public Theater, set and costumes for The Word Begins at The Signature Theatre, and System Wonderland and The Piano Teacher at South Coast Repertory. Other recent design credits include The Good Person of Szechuan at the Landestheater in Austria, Isle of Dunes for Nai-Ni Chen Dance Company, Citizen 13559 at the Kennedy Center, The Golden Mickeys for Disney Creative Entertainment/Hong Kong and Le nozze di Figaro at the Chicago Opera Theater. Ms Cho has been nominated twice for the Hewes Design awards, once for costume design for 36 Views in 2002, and then for set design for Gertrude & Alice in 2001. She received the Princess Grace award in 1995 and a special project grant by the Prince Grace Foundation in 2003. SCOTT ZIELINSKI Lighting Designer

American lighting designer Scott Zielinski was last with the COC as the original lighting designer for Lucia di Lammermoor in 2004. Mr. Zielinksi’s extensive experience includes lighting designs for opera, theatre and dance. Previous operatic credits include designs for Arizona Opera, Brooklyn Academy

of Music, English National Opera, Gotham Opera, Houston Grand Opera, Lithuanian National Opera, Minnesota Opera, De Nederlandse Opera, New York City Opera, Opera Colorado, Pittsburgh Opera, San Francisco Opera and Spoleto Festival USA. Internationally he has designed for productions in Adelaide, Amsterdam, Berlin, Edinburgh, Fukuoka, Göteborg, Hamburg, Hong Kong, Istanbul, Linz, London, Luang Prabang, Lyon, Melbourne, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rotterdam, Singapore, Stockholm, Stuttgart, Tokyo, Vienna, Vilnius and Zurich. Future productions include Musée de la Mer for Théâtre de Gennevilliers (France), Julius Caesar for Theater St. Gallen (Switzerland), Jan Karski for Festival d’Avignon (France) and Miss Fortune, a new Judith Weir opera for the Bregenz Festival and the Royal Opera House Covent Garden. SANDRA HORST Chorus Master

Chorus master Sandra Horst’s recent credits include Aida, Death in Venice, Idomeneo, Maria Stuarda, The Flying Dutchman, Otello, Carmen, Madama Butterfly and The Nightingale and Other Short Fables for the COC and The Marriage of Figaro, Eugene Onegin and The Golden Ticket for Opera Theatre of St. Louis. As director of musical studies for the UofT’s Opera Division, she has most recently conducted Ravel’s L’enfant et les sortilèges and L’heure espagnole, as well as productions of Donizetti’s L’elisir d’amore, J. Strauss’s Die Fledermaus, Nicolai’s Die lustigen Weiber von Windsor, Puccini’s Gianni Schicchi and John Beckwith’s Taptoo! Ms Horst conducted Rossini’s Il viaggio a Reims for the COC, has been chorus master of Edmonton Opera, served as a judge for the Metropolitan Opera National

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Council auditions and has been on the music staff of the Juilliard Opera Center, Chautauqua Institute, Boston Lyric Opera, Edmonton Opera, Banff Centre for the Arts, Opera Ontario and Opera Saskatchewan. With the COC this season she is also the chorus master for Nixon in China, La Cenerentola and Orfeo ed Euridice. STEPHANIE MARRS stage Manager

Stephanie Marrs has worked with the COC since 1991 and recently stage managed Death in Venice. She was one of the stage managers for the Inaugural Gala Concerts for the FSCPA*, and has stage managed such productions as Idomeneo, Madama Butterfly, Così fan tutte, Simon Boccanegra, Rusalka, Don Giovanni, Pelléas et Mélisande, Elektra, Siegfried as part of the complete Ring Cycle, Norma, Rodelinda, Tancredi, Lucia di Lammermoor, Rigoletto, Tosca, Albert Herring, Giasone, Giulio Cesare, and Madama Butterfly. She has also stage managed for Nightwood Theatre, Crow’s Theatre, Opera York, Opera Atelier, the Canadian Children’s Opera Company, the Port Hope Festival Theatre and Gryphon Theatre. As an assistant stage manager, COC credits include: From the House of the Dead, Faust, Così fan tutte, The Turn of the Screw, Venus and Adonis, Bluebeard’s Castle/Erwartung, La Traviata, and Jen˚ufa. Ms Marrs has also worked for Opéra national de Lyon, Edmonton Opera, Opera Lyra Ottawa, CanStage, the Luminato Festival and the Just for Laughs Toronto Festival.

KEVIN MURPHY Assistant Conductor

American conductor and pianist Kevin Murphy makes his COC debut with this production. Currently the director of music administration at New York City Opera, Mr. Murphy has also served as the Directeur des études musicales at the Opéra national de Paris and spent 13 years as an assistant conductor at the Met. He has played continuo harpsichord with the Metropolitan Opera Orchestra in many productions, including Così fan tutte, La Cenerentola, Le nozze di Figaro, Don Giovanni, La clemenza di Tito and Idomeneo, and travelled with the company on tour in Japan. In addition to his on-and off-stage partnership with soprano Heidi Grant Murphy, Mr. Murphy has collaborated in concert and recital with numerous artists including Michelle DeYoung, Bejun Mehta, Gary Lakes, Nathan Gunn, Olaf Bär, Bryn Terfel, Marcelo Alvarez, Plácido Domingo, Frederica von Stade, Renée Fleming, Paul Groves and Cecilia Bartoli. Mr. Murphy is also respected for his work as a vocal coach and has been on the faculty of the International Vocal Arts Institute and is invited regularly by universities and young artist programs to work with the next generation of musicians. ASHLIE CORCORAN Assistant Director

Former COC Ensemble Studio intern director Ashlie Corcoran directed the COC’s production of William Walton’s The Bear and the school tour of Cinderella. With the COC, she was apprentice director for the Ring Cycle, Faust and La Traviata and assistant director for Idomeneo, Tosca, Don Giovanni and Fidelio. She has worked

Canadian Opera Company 2010/2011 Season

as an assistant director for Opera North in the U.K. and Städtische Bühnen Münster in Germany. She is co-artistic producer of Theatre Smash for which she directed Tiny Dynamite, The Bus, Tijuana Cure, A Boy Called Newfoundland and produced Norway. Today. In 2009, Ms Corcoran was a Shaw Festival intern director, directing Sean O’Casey’s Bedtime Story. Other directing credits include productions for Resurgence Theatre, Summerworks Festival, Luminato Festival, The Wrecking Ball and Alumnae Theatre. Ms Corcoran received an undergraduate degree from Queen’s University and a master’s in directing, awarded with distinction, from the University of London. She is a member of the Lincoln Center Directors Lab, participated in a directing residency at Berlin’s Maxim Gorki Theater and is currently the Urjo Kareda Resident Emerging Artist at Tarragon Theatre.

M – Mainstage Performances; e – ensemble Studio Performance, feb. 17 *fSCPA – four Seasons Centre for the Performing Arts

FOOD AND BeveRAGe seRvICe We are pleased to offer, for the convenience of all of our patrons, a pre-order system for intermission purchases. Our pre-order system is designed to decrease your wait time at the bar during intermission and we invite you to make use of it at every COC performance. Bars are located throughout the Isadore and Rosalie Sharp City Room’s many levels. Food and beverages are not permitted in R. Fraser Elliott Hall.

CANADIAN OPERA COMPANY ORCHESTRA VIOLIN I Marie Bérard, Concertmaster The Concertmaster’s chair has been endowed in perpetuity by Joey and Toby Tanenbaum Benjamin Bowman, Associate Concertmaster diane Tait, Assistant Concertmaster Anne Armstrong Sandra Baron Bethany Bergman nancy Kershaw, on leave of absence dominique laplante Yakov lerner Jayne Maddison neria Mayer VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal James Aylesworth elizabeth Johnston Aya Miyagawa louise Tardif Marianne Urke Joanna Zabrowarna VIOLA nicolò eugelmi, Principal, on leave of absence Theresa rudolph Koczó, Acting Principal Joshua Greenlaw, Assistant Principal rhyll Peel Capella Sherwood Beverley Spotton Yosef Tamir

CELLO Bryan epperson, Principal Alastair eng, Associate Principal Paul Widner, Assistant Principal Maurizio Baccante Olga laktionova elaine Thompson BASS Alan Molitz, Principal robert Speer, Assistant Principal Tom Hazlitt Paul langley, on leave of absence robert Wolanski FLUTE douglas Stewart, Principal Shelley Brown

TRUMPET robert Grim, Principal Brendan Cassin TROMBONE robert ferguson, Principal Ian Cowie BASS TROMBONE Herbert Poole TIMPANI Michael Perry, Principal PERCUSSION Trevor Tureski, Principal KEYBOARD GLOCKENSPIEL/ FORTEPIANO rachel Andrist LIBRARIAN Wayne Vogan

PICCOLO Shelley Brown OBOE Mark rogers, Principal lesley Young CLARINET/BASSET HORN Colleen Cook, Acting Principal Michele Verheul BASSOON eric Hall, Principal elizabeth Gowen HORN Joan Watson, Principal Gary Pattison

ASSISTANT MUSIC LIBRARIAN Capella Sherwood STAGE LIBRARIAN Paul langley PERSONNEL MANAGER Ian Cowie Mr. Matt Hughes has generously donated a fortepiano to the Canadian Opera Company and it will be played during performances of The Magic Flute.

CANADIAN OPERA COMPANY CHORUS SOPRANOS Mary Bella Margaret evans laura Klassen Alexandra lennoxPomeroy Ingrid Martin eve rachel Mcleod Victoria Pinnington Jennifer robinson Catherine Tait Teresa van der Hoeven

MEZZO-SOPRANOS Susan Black Sandra Boyes Wendy Hatala foley Sonya Gosse Heather Jewson lilian Kilianski Kathryn Knapp Anne McWatt Karen Olinyk Vilma Indra Vitols

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TENORS Vanya Abrahams Craig Ashton Stephen Bell Taras Chmil Sean Clark Stephen erickson John Kriter Jason lamont James leatch Stephen McClare

BASSES & BARITONES Grant Allert Kenneth Baker Peter Barnes Sung Chung Michael downie Jason nedecky niculae raiciu Michael Sproule Gene Wu Michael York

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

Mr. George S. dembroski dr. fayaz dossa Mr. William fearn (ex officio) Mr. david C. ferguson Mr. david forster Mr. Mike french Mr. Adam froman Mr. Michael Gibbens Mr. John Gagliano dr. linda Hutcheon Ms Trinity Jackman Ms Pamela Jeffery Mr. Jeff lloyd Mr. Stephen O. Marshall Ms Judy Matthews Mr. Geoffrey Matus Ms Marina Mcdougall (ex officio) Ms Trina McQueen

Mr. Jonathan Morgan Mrs. Sue Mortimer Mr. nicholas Mutton Mr. Ian Pearce Ms frances Price Mr. John rothschild Mr. Arthur r. A. Scace, C.M. Ms Colleen Sexsmith Ms Sandra Simpson Mr. Philip Smith Ms Kristine (Kris) Vikmanis Ms Karen Walsh Mr. John H. (Jack) Whiteside Mr. Tom Woods HONORARY DIRECTORS Mr. Joey Tanenbaum, C.M.

VOLUNTEER SUPPORT ORGANIZATIONS COC OPERA GUILDS Brantford Opera Guild, David M. Cullen, President Kingston Opera Guild Grace Orzech, President london Opera Guild Ernest H. Redekop, President Muskoka Opera Guild Tom Anderson, President northumberland Opera Guild Thais Donald, President Oakville Opera Guild Margaret Parker, President Peterborough Opera Guild June Wilson Thexton, President Quinte Opera Guild Dorothy Temple, President Sudbury Opera Guild Mike Humphris, President Western new York Opera Guild Dorothy K. Piepke, President

ARIAS: Canadian Student Opera Development Fund Arija Stiver, Chair Marina Mcdougall, President Arija Stiver, Past-President lisa Teskey, Vice-President Kai Christine liu, Vice-President TBA, Secretary lisa Teskey, Treasurer

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

For more information on COC Guilds please visit http://www.coc.ca/AboutTheCOC/Affiliates/OperaGuilds.aspx

Canadian Opera Company 2010/2011 Season

ADMINISTRATION AND STAFF AleXAnder neef, General director Managing Director Robert Lamb Music Director Johannes Debus EXECUTIVE OFFICE Executive Assistant to the General Director Marguerite schabas ARTISTIC ADMINISTRATION Artistic Administrator Roberto Mauro MUSIC Music Administrator sandra Gavinchuk Chorus Master sandra horst Music Librarian, Coach, Chorus Administrator Wayne vogan Head of the Ensemble Studio & Coach elizabeth upchurch Resident Conductor Derek Bate Music Staff Rachel Andrist susan Ball Jean Desmarais Albert Krywolt Anne Larlee Ben Malensek steven Philcox elizabeth Rowe Felice venanzoni Company Manager Olwyn Lewis Scheduling Manager Kathryn Garnett Administrative Assistant, Music Karen Olinyk Archivist, Joan Baillie Archives Birthe Joergensen Orchestra Personnel Manager Ian Cowie Assistant Librarian Capella sherwood COC Ensemble Studio Ambur Braid Rihab Chaieb Neil Craighead Chris enns Wallis Giunta Adrian Kramer Anne Larlee Ileana Montalbetti simone Osborne Michael uloth Jacqueline Woodley Production Assistants Ariel Martin-smith Aislinn Ritchie PROGRAMMING Director of Programming – Free Concert Series Nina Draganić PRODUCTION Production Manager Lee Milliken Technical Director David Feheley Associate Technical Director Barney Bayliss Lighting Co-ordinator Wendy Greenwood Assistant Technical Director Melynda Jurgenson Head Electrician Janice Fraser Assistant Electrician Joel Thoman Production Electrician Ashley Rose Head of Sound Al Merson

Head Carpenter Paul Watkinson Assistant Carpenter Mike Gelfand Head Flyman Rupert Baker Head of Properties Alison Potter Core Crew Guy Campagnaro scott Clarke Terry hurley Paul Otis Scene Shop Supervisor Patrick Wood Head Scene Shop Carpenter David Middleton Assistant Scene Shop Carpenter Larry Pratt Carpenters Doug Closs hugh MacLachan Jim Nutt Rob Rea Dave Retzleff Andrew vukovic Andrew Walker Mark Washuck Head Scenic Artist Richard Gordon Assistant Head Scenic Artist Jana Osterman Scenic Painters Katherine Lilly Daniela Mazic heather Midwinter Lisa Petrocco Andrze Tarasium Carolina valenzuela Scenic Design Assistants sara Clement Cameron Mock Yu shibagaki Chika shimizu Scenic and Costume Design Interns hana Kim emily MacDonald Costume Design Intern Michelle Neumann Rehearsal Head Technician scott Williamson Properties Supervisor Guy Nokes Resident Properties Builder/Co-ordinator stephanie Tjelios Properties Buyer/ Co-ordinator Kathy Frost Properties Co-ordinator Tracy Taylor Properties Builders Carolyn Choo Wulf Animal Costumes Karen Rodd Owl Costume Brenda Clark Costume Supervisor sandra Corazza Costume Co-ordinator Cassandra spence Assisted by Kate Day Costume Assistants Jazlyn Dow Lina Marques Resident Tailor sue Furlong Assisted By Deniz Cakin Gulay Cokgezen Karen Donaldson helen Flower sharon Gashgarian Karen hancock Ilana harendorf Krista Nauman Barbara Nowakowski Additional Costumes by Arana enterprises

Christine Audet Avril stevenson h’evan Lee Creations Industry Costumes Denis Pizzacalla Chris Read Assisted by Mary Furlong Carolyn Kasperski Yoe Ian Kwee Lynda Kyrby Judy MacDougall Lisa Pagliaro Milena Radeva sam e. Wyton Millinery by Kaz Maxine Leslie Norgate Additional Dyeing by Chrome Yellow Wardrobe Mistress Marilyn Rodwell Wardrobe Assistant Rafe Macpherson Wig & Make-up Supervisor sharon Ryman Head of Wig & Make-up Crew Cori Ferguson Production Co-ordinator shawna Green Production Intern Morgan Leigh hearty SURTITLES™ Producer Gunta Dreifelds SURTITLES™ Editor Zane Kaneps SURTITLES™ Assistant John sharpe DEVELOPMENT Chief Development Officer Marion York Director, Individual Giving Christie Darville Senior Development Officer, Individual Giving Dawn Marie schlegel Senior Development Officer, Annual Programs Peter hussell Donor Relations Officer Natalie sandassie Development Officer, Individual Giving LeeAnne Rorabeck Individual Giving Co-ordinator stephanie hunt Individual Giving Co-ordinator stephen Radbourn Development Officer, Friends of the COC Aisha Talarico Development Co-ordinator, Friends of the COC Lucia Ly Senior Development Officer, Corporate Programs Carlie Weppler Development Officer, Corporate & Foundation Giving sybil Choles Manager, Special Events Tracy Briggs Special Events Co-ordinator Christine Tizzard Donation Database Officer Kira egorova Data Processing Co-ordinator Olena Moldovan

FINANCE AND ADMINISTRATION Director of Finance and Administration Lindy Cowan, CA Finance Manager Ray Gooden, FCA (uK) General Accountants Florence huang Zoran Orlić (fSCPA) Payroll Accountants Jovana Božović Jeanny Won Public Affairs Manager Amy Mushinski Manager, IT Services steven sherwood IT Services Assistant Tony sandy Computer Services Assistant Nick Mitropoulos Receptionist/Switchboard Katarina Božović Mailroom Clerk/Courier Branka hrsum BUILDING SERVICES COC & FSCPA Building Services Manager Michael Tremblay Assistant Building Services Manager Piro Milo Security Supervisors videsh Dookhu Dave samuels Maintenance Assistants Tymen de vries (FsCPA) James esposito (FsCPA) Ryszard Gad (COC) Branislav Peterman (COC) Julian Peters (COC) Wojtek Plichta (FsCPA) Piotr Wiench (FsCPA) Security Officers Tammy hill Natalia Juzyc heather Reid Building Operators Radu Chereji Dan Popescu Hurley Supervisor Paula Da Costa COMMUNICATIONS Director of Public Relations Claudine Domingue Director of Marketing Jeremy elbourne Senior Manager Sales and Customer Service Phil stephens Senior Communications Manager, Editorial suzanne vanstone Senior Communications Manager, Creative Gianna Wichelow Communications Manager, Special Initiatives Caitlin Coull Digital Marketing Manager Jennifer Dougall Media Relations Manager Jennifer Pugsley Social and Interactive Media Co-ordinator Cecily Carver Marketing Co-ordinator eldon earle Retail and Editorial Co-ordinator Gianmarco segato Volunteer and Creative Assistant John Kriter

Communications Assistant vanessa smith EDUCATION AND OUTREACH Senior Manager, Education and Outreach Katherine semcesen Education and Outreach Programming Manager Jessica Lovett Education and Outreach Programming Co-ordinator Carly Anderson Education and Outreach Assistant Gillian story TICKET SERVICES Ticket Services Manager Alan Moffat Assistant Ticket Services Managers Andrea salin Nikki Tremblay (on leave) Group Sales Co-ordinator David Nimmo Ticket Services Supervisors erin Cook Lilian Fung victor Widjaja Ticket Services Representatives Becky Bridger Terry Bursey ernest Cayemen holly Coish Danielle D’Ornellas Anna Kay eldridge Chelsea Ireton Keith Lam Julia Lederer Ian McDonnell Diana Merta Amber Mills Kelly Noordermeer Kevin Pook Mary Porter Maria serreno Mitch Yolevsky CALL CENTRE Call Centre Manager sarah Frankel Call Centre Representatives Alex Gladwell stephen Kreuger David Ontonovich Richard Paradiso Tim sell Adriano sobretodo Margaret Terry FOUR SEASONS CENTRE FOR THE PERFORMING ARTS Director of Facility Operations Alfred Caron Business Manager elizabeth Jones Patron Services Manager Jefferson Guzman Assistant Manager, Front of House Kim hutchinson-Barber Assistant Manager, Food & Beverage Brigitte Lang Patron Services Supervisors Kelly Bailey Melissa Lapczynski Adam Orr Brynn Pearson Rebecca Riddell Ashley Westlake Kimberly Wu

FSCPA – Four Seasons Centre for the Performing Arts

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E. LOUISE MORGAN SOCIETY The e. louise Morgan Society was created to reflect the vision and commitment of its founder and the members who have created a legacy of leadership, passion and philanthropy in support of the goals of the Canadian Opera Company. each of these donors has contributed a cumulative total of more than one million dollars over the past 15 years. Their support is critical to the company’s success and we are forever indebted to their commitment and generosity. dr. larry M. Agranove

Kolter Communities

ArIAS: Canadian Opera Student development fund

The Catherine and Maxwell Meighen foundation roger d. Moore

The Gerard & earlaine Collins foundation The late John A. Cook

MAJOR GIFTS & SPECIAL PROJECTS every year, the Canadian Opera Company has unique projects operating beyond regular annual activities, each of which relies on private funding to ensure its success. These include: transition and endowment funding, production underwriting, artist and performance sponsorship as well as training, education and outreach programs. $500,000 - $999,999 The Catherine and Maxwell Meighen foundation $100,000 – $499,999 Anne & Tony Arrell david G. Broadhurst The estate of Horst dantz & don Quick‡ Jean davidson & Paul Spafford Philip deck & Kimberley Bozak George S. dembroski Trina & don McQueen Tim & frances Price Colleen Sexsmith Sandra l. Simpson The Slaight family Anonymous‡ $25,000 - $99,999 estate of daphne Bell ethel Harris & the late Milton e. Harris ronald Kimel & Vanessa laPerriere estate of Aldo & Anita Maggiorotti Jill & Geoff Matus Melanie Whitehead Mersch roger d. Moore

e. louise Morgan Joey & Toby Tanenbaum

david Stanley-Porter The Stratton Trust françoise Sutton William & Phyllis Waters UP TO $24,999 Cecily & robert Bradshaw Ian & June Cockwell david & Kristin ferguson Peter & Hélène Hunt Hon. Henry n. r. Jackman‡ Patrick & Barbara Keenan J. Hans Kluge Jo lander Marjorie & roy linden In loving memory of Sandra Papsin david roffey & Karen Walsh Katalin Schäfer Janet Stubbs Ms Kristine Vikmanis & Mr. denton Creighton estate of evelyn Ann Young Anonymous INDIVIDUAL ANNUAL SUPPORT GOLDEN CIRCLE GOLD, $50,000 + Anne & Tony Arrell*** david G. Broadhurst* In memory of Gerard H. Collins**** Jerry & Geraldine Heffernan**** The Catherine and Maxwell Meighen foundation**** roger d. Moore**** Arthur & Susan Scace**** Colleen Sexsmith** Sandra l. Simpson*

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SILVER, $25,000 – $49,999 Andrew Peller limited Paul Bernards*** Cecily & robert Bradshaw Philip deck & Kimberley Bozak*** George S. dembroski**** Mr. & Mrs. W. Humphries*** ronald Kimel & Vanessa laPerriere**** Susan loube & William Acton* The Stratton Trust* BRONZE, $12,500 – $24,999 dr. & Mrs. Hans G. Abromeit**** Mark & Gail Appel** Philip & linda Armstrong* Ms nora Aufreiter Melissa & Barry Avrich John & Claudine Bailey*** Barbara Black* Mr. Philip J. Boswell†**** Walter M. & lisa Balfour Bowen**** Susanne Boyce & Brendan Mullen*** rob & Teresa Brouwer* Marcia lewis Brown Stewart & Gina Burton* dr. John Chiu in memory of Yvonne Chiu, C.M.**** The Max Clarkson family foundation**** J. rob Collins & Janet Cottrelle**** Sydney & florence Cooper* Mr. & Mrs. leslie dan** Jean davidson & Paul Spafford**** david denison & Maureen flanagan* dr. fayaz & Mrs. Sandra dossa david & Kristin ferguson**** George fierheller**** Margaret & Jim fleck* 23

lloyd & Gladys fogler*** david & elizabeth forster** four Seasons Hotels & resorts** Adam & Sharin froman John & rita Gagliano roger & Kevin Garland** Michael & lora Gibbens Ira Gluskin & Maxine Granovsky Gluskin** James & Joyce Gutmann**** ethel Harris & the late Milton Harris**** dr. W. P. Hayman & dr. M. l. Myers*** nona & William Heaslip foundation**** douglas e. Hodgson**** Michael & linda Hutcheon**** William Ip & Kathleen latimer* dr. Amy Kaiser & Ken rotman* Jeff lloyd & Barbara Henders Mr. & Mrs. J. S. A. Macdonald**** Judy & Wilmot Matthews Jill & Geoff Matus* John & esther Mcneil*** Trina & don McQueen* Johanna Metcalf*** Bruce & Vladka Mitchell delia M. Moog** Jonathan Morgan* Sue Mortimer in memory of Clive Bennett Mortimer**** nicholas & rosemary Mutton Mrs. & Mr. Christl & Karl niemuller** donald O’Born** Peter M. Partridge**** Ian & Michelle Pearce Tim & frances Price**** david roffey & Karen Walsh*** rose family fund at the Toronto Community foundation*** John A. rothschild Katalin Schäfer** Philip & Maria Smith** Stephen & Jane Smith**** Marion & Gerald Soloway* david e. Spiro*** david Stanley-Porter**** Ms Kristine Vikmanis & Mr. denton Creighton**** Jack Whiteside** Tom & ruth Woods*** PRESIDENT’S COUNCIL PRESIDENT’S COUNCIL COMMITTEE Mary-Catherine Acheson diane Adamson-Brdar Thomas J. Burton Gladys fogler Sue Mortimer

Katalin Schäfer Colleen Sexsmith (Chair) Kristine Vikmanis Karen Walsh TRUSTEE, $7,500 – $12,499 à la Carte Kitchen Inc. laurie & fareed Ali* Margaret Atwood & Graeme Gibson** Mr. & Mrs. Alexander Christ**** Andrew fleming** The Hon. William C. Graham & Mrs. Catherine Graham**** Al & Malka Green* rainer Hackert*** Maggie Hayes* Trinity Jackman Bernhard & Hannelore Kaeser**** J. Hans Kluge* Murray & Marvelle Koffler**** Mr. Gurney Kranz*** Anne & Wilf lewitt* Jerry & Joan lozinski**** Bobby & Gordon Macneill* Hon. Margaret & Mr. Wallace McCain** John McVicker & B. W. Thomas**** Mrs. louise O’Shea**** françoise Sutton** Ms r. raso*** dr. david Shaw* Anonymous (1) PATRON, $3,750 – $7,499 Clive & Barbara Allen**** Mr. Peter Allen* Sue Armstrong** ron Atkinson & Bruce Blandford*** Salah Bachir* Mrs. n. A. Balciunas**** robert & Mona Bandeen** Schuyler Bankes & family*** Karen & Bill Barnett l. H. Bartelink in memory of Oskar & Irmgard Gaube** dr. Thomas H. Beechy**** Mr. & Mrs. eric Belli-Bivar** Mr. & Mrs. Avie Bennett**** Mr. roland Bertin**** Tom Bogart & Kathy Tamaki* William & Anna Maria Braithwaite* dr. david & Constance Briant**** dr. Jane Brissenden & dr. Janet roscoe**** Mrs. donna Brock** Margaret & derek Brown**** Murray & Judy Bryant** Thomas J. Burton*

Canadian Opera Company 2010/2011 Season

Sharon & Howard Campbell* Joe & laurissa Canavan Cesaroni Management limited** Mr. douglas W. Chaddock Paul G. Cherry & dean C. noack**** Peter & frances Chiddy* frank Ciccolini**** Marilyn Cook Mr. & Mrs. William J. Corcoran** Tim Costigan & Kathleen Mclaughlin lindy Cowan† & Chris Hatley** Mrs. ninalee Craig** norman Curtis**** C. M. dare**** raul Werneck de Castro** dr. Jeanne deinum**** Carol derk & david Giles* Mrs. A. ephraim diamond and family**** Bernard & francine dorval** Peter & Anne dotsikas* Vreni & Marc ducommun** Bud & leigh eisenberg** Mr. & Mrs. John J. elder**** Joseph fantl & Moira Bartram* Graham farquharson** fleur-de-lis Interior design Kimberley fobert & robert lamb†*** The fraser elliott foundation**** dr. & Mrs. Wm. O. Geisler** The Hon. & Mrs. Alastair W. Gillespie**** Ben & Sarah Glatt**** Peter & Shelagh Godsoe* rose & roger Goldstein *** Michael & Anne Gough**** dr. noëlle Grace & The Shohet family*** ronald & Birgitte Granofsky*** douglas & ruth Grant John & Judith Grant* John Groves*** George & Irene Hamilton**** Hampton Securities ltd. Scott & ellen Hand** Mr. & Mrs. William B. Harris** Hon. & Mrs. Paul Hellyer**** Ava Marion Hillier* Prof. Michiel Horn**** Scott Irvine† & Joan Watson†** dr. Melvyn l. Iscove** The Jackman foundation*** Victoria Jackman** dr. Peter Janetos* Mr. robert C. Jefferies*** dr. Joshua Josephson**** lorraine Kaake**** Patrick & Barbara Keenan****

dr. Joel Keenleyside**** Jim & diane King* Joseph Kerzner & lisa Koeper*** Jean V. Kramar* The Hon. dennis lane, Q.C. & Mrs. Sandra lane**** Harold & larraine langer**** Mr. Philip lanouette* John B. lawson, Q.C.**** Paul lee & Jill Maynard**** daniel & Janet li* Michel lislois** Vincent & Helene lobraico Angelo & Grace locilento* douglas l. ludwig & Karen J. rice** John Macfarlane Christa & robert Mcdermott* The Hon. Barbara Mcdougall*** Paul & Jean McGrath**** June Mclean**** Mr. Michael J. McMurray* Sam Meister Mr. Ulrich Menzefricke**** Melanie Whitehead Mersch** Mr. Albert Merz* dr. Thomas & Mrs. Catherine H. Millar dr. Judith A. Miller*** Beatrice & Arthur Minden foundation**** Professor david J. Murray** eileen Patricia newell** Mrs. Sally-Ann noznesky**** e. Oliana & A. Iu** Keith & Brenda Ottaway** dr. & Mrs. William M. Park**** Mr. douglas l. Parker**** John & Gwen Pattison* Polk family Charitable fund** Julian Porter, Q.C.* Samuel A. rea & Wendy J. Thompson**** rob & Penny richards** Gordon robison & david Grant* Margaret A. riggin Joseph l. rosenmiller* Maxwell l. rotstein & nancy-Gay rotstein**** Mr. & Mrs. r. T. ruggles**** Annie & Ian d. Sale Judy & Hy Sarick**** Sam & esther Sarick*** Helen & John Scott* Katherine & Gary Shaw* dr. ralph Shaw & June Shaw**** Allan & Helaine Shiff**** Judy & Hume Smith*** dr. John Stanley & dr. Helmut reichenbächer** drs. Wayne Stanley & Marina Pretorius doreen l. Stanton****

dr. richard & Jane Stoneman* Carol Swallow** Mr. & Mrs. Michael Tatham* Kathryn J. Thornton*** Anthea Thorp*** Vincent Tovell, O.C.*** rosalind & dory Vanderhoof donald & Margaret Walter**** Hugh & Colleen Washington* William r. Waters*** Mr. & Mrs. richard Wookey*** Peter Webb & Joan York**** ruth Watts-Gransden**** dr. Jack Williams & dr. dorothy Pringle** l. r. Wilson* linda Young The Youssef-Warren foundation*** Helen Ziegler** Sharon Zuckerman**** Helen & Walter Zwig**** Anonymous (6) MEMBER, $2,250 – $3,749 Mr. Herb Abramson** The Acheson family foundation** d. C. Adamson-Brdar**** dr. & Mrs. larry M. Agranove**** donna & lorne Albaum* Mr. & Mrs. roberto & nancy Albis** Mr. Thomas Allen* Mr. & Mrs. Howard Alpert** dr. d. Amato & Ms J. Hodges**** rod Anderson & Merike lugus**** Andrée Appleton & Alexander leman* Anne-Marie H. Applin** Valerie Armstrong*** Philip Arthur Virginia Atkin** John Bailey* Marilyn & Charles Baillie**** James C. Baillie* Andrew & Cornelia Baines**** Janice A. Baker**** richard J. Balfour*** lindy Barrow Ms roxanne Bartel dr. frank Bartoszek & Mr. daniel O’Brien**** florence Sharpe Barwell**** Julia Bass & david Hamilton** Alice & Tom Bastedo** Mr. & Mrs. Peter & Sondra Beck Mr. doug & Mrs. Alison Bell Ms Marie Bérard†** dan Bereskin, Q.C. & rhoda Gryfe* dr. Catherine Bergeron** nani & Austin Beutel****

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John n. & Miranda A. H. Birch J. Bismillah* Anneliese and Walter Blackwell**** Susanne Blake*** Ms lynn Blaser & Mr. John van Ogtrop**** Ian & Janet Blue** John & Ila Bossons* Mr. W. Bowen & Ms S. Gavinchuk†*** david Boyd-Thomas*** Mrs. Carolyn Bradley-Hall & Mr. William Bradley** Mrs. richard Bradshaw** Sylvia Brander**** Peter Brieger & Beverley Hamblin Brian Bucknall & Mary Jane Mossman**** Alice Burton** Barrie & Betty Cade** Maureen Callahan & douglas Gray* Margaret Harriett Cameron**** della H. Campbell**** Ken & denise Cargill** Brian & ellen Carr**** Gail Carson**** Wendy M. Cecil**** dr. & Mrs. Albert Cheskes** Birte von Chlumecky-Bauer** dr. Howard M. Clarke** The rt. Hon. Adrienne Clarkson Cogeco data Services edward Cole & Adrienne Hood** Brian Collins & Amanda demers* Murray & Katherine Corlett*** Harold & Anita Corrigan*** dr. lesley S. Corrin**** Gay & derek Cowbourne* eloïse Crabtree & don Carmichael* Ms Wanda Crickmay Susan Crocker* Irene & Keith Croot*** Mary Beth Currie & Jeff rintoul Carrol Anne Curry** Ms lindsay dale-Harris & Mr. rupert field-Marsham**** doris J. daughney M. P. davies* dr. & Mrs. Michael & Ute davis* Brian J. dawson** Juleth dawson Jill denham & Stephen Marshall* Michael & Honor de Pencier*** Mrs. rosario de Wit-farro** Mrs. leonard G. (Anne) delicaet & Mrs. Kendra Anne delicaet-Almasi*** Mary-Kathleen delicaet & John Young Perry & rae dellio**

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

Mr. & Mrs. Henry Hackenspiel**** Gudrun Hackert*** dan Hagler & family** Ms francess G. Halpenny**** John & ruth Hannigan Beverly Hargraft* Paul & natalie Hartman Paul & Margaret Harricks Michael Harris & Carol rak* Valerie & Brian Harris*** Mr. d. Harrison & dr. e. fischer* lloyd Heaslip**** Jenny Heathcote**** Mr. Thomas G. Heintzman & Ms Mary Jane Heintzman** Caroline Helbronner & douglas Klaassen** Jacques & elizabeth Helbronner** Ann & lyman Henderson**** Thea Herman & Gregory King** The donald Heskins Philanthropic fund of The foundation for Jewish Philanthropies* William e. Hewitt*** Sam & libby Ho** Chris Hoffmann & Joan eakin* Sally Holton & Stephen Ireland*** emmy & Walter Homburger** Mr. roland Hoy** drs. Walter & Virginia Hryshko Ken Hugessen & Jennifer Connolly* Anthony C. J. Humphreys**** Gillian Humphreys Peter & HĂŠlĂ¨ne Hunt**** Mrs. Wilma Hysen*** Infonex Inc.* Prof. Christopher Innes & Brigitte Bogar William Innes diana & Philip Jackson in memory of ethel B. Jackson*** elliott Jacobson & Judy Malkin* lynne Jeffrey*** laurence Jewell* The norman & Margaret Jewison Charitable foundation**** Ms elizabeth Johnson* dr. Albert & Bette Johnston* Joyce Johnston** H. l. Katarynych** Joseph & Maureen Katchen david W. & Sheryl l. Kerr Inta Kierans**** Peter Kingsmill ellen & Hermann Kircher**** dr. elizabeth Kocmur**** Michael & Sonja Koerner** robin Korthals & Janet Charlton* dr. robert Kosnik****

Canadian Opera Company 2010/2011 Season

richard J. Kostoff** Valarie Koziol William & eva Krangle*** elizabeth & Goulding lambert*** leslie & Jo lander**** richard T. la Prairie dr. Connie lee** dr. richard lee & Mr. Gary Van Haren* linda lee & Michael Pharoah**** neal lee & dominique lee* Alexander & Anna leggatt** Joy levine** Mr. Jonathan C. levitt & Ms ethel Mah Mr. Peter levitt & Ms Mai Why** Cheryl lewis & Mihkel Voore** Justin S. linden Marjorie & roy linden**** dr. & Mrs. W. G. lindley**** Janet & Sid lindsay** Anthony lisanti** dr. Vance logan*** A. Benson lorriman**** Ms Jane loughborough* dr. robert G. luton**** Jonathan & dorothea lovat dickson* Mary lu & Bruce Macdonald**** James & Connie Macdougall**** Mr. Jed MacKay**** dr. & Mrs. richard Mackenzie**** Mrs. r. MacMillan**** Tom & Catharina MacMillan**** Macro Properties ltd.* Mrs. Janet Maggiacomo* Susan & Scott Maidment** dr. Colin McGregor Mailer**** Mrs. ettore Mazzoleni** robert Mansell & elizabeth Mitchell* r. Manke**** dr. & Mrs. M. A. Manuel Mr. & Mrs. r. Gordon Marantz**** Gerald & Helen Marr**** Kenneth & Kathleen Mathieson Pauline and dipak Mazumdar at the Toronto Community foundation*** dr. & Mrs. John A. McCallum**** Wendy & Chris Mcdowall* Anne Mcfadyen dr. & Mrs. donald C. McGillivray**** darcy & Joyce McKeough* Guy & Joanne Mclean*** M. e. Mcleod**** Jean M. Mcnab**** Margaret C. Mcnee Mark & Andrea McQueen*** Mr. Ian McWalter* Shawn Mcreynolds & elaine Kierans

dr. don Melady & Mr. rowley Mossop** MI9 Business Intelligence Systems Ingrid & daniel Mida Marvene (Cox) & Gordon Miller* lee Milliken† & doug Macnaughton* dr. William & Mrs. Sharon Millman* Patricia & frank Mills** Ms Kamini Milnes* Audrey & david Mirvish** dr. david n. Mitchell & dr. Susan M. Till** robert & Janet Mitchell dr. eva Mocarski dr. & Mrs. S. Mocarski donald Moggridge & Susan Howson** Anne Moore*** Mr. robert Morassutti**** ruth Morawetz & Ken Judd** Alice Janet Morgan** Ada & Hugh G. Morris edith Patterson Morrow*** Ms rosalind Morrow* drs. Christopher & Pippa Moss** Mr. noel Mowat* Walter & Susan Mozek Mr. Joseph Mulder* Taketo & Vija Murata* ethel Myers**** david & Mary neelands** dr. Shirley C. neuman* dr. John & Pamela newall**** dr. Steven nitzkin*** Mr. Jean-Claude noel* Simon & Marlene nyilassy dr. James & Mrs. Valda Oestreicher** Janice Oliver** Martin & Myrna Ossip* Benson Orenstein** Julia & liza Overs*** dr. & Mrs. n. Pairaudeau*** Isabel Pargana & raimondo Maltese Mrs. Margaret Ann Pattison**** John & Penelope Pepperell* dr. r. G. Perrin* Stephanie Perry & ronan McGrath Mr. William Perry* John & Carol Peterson** M. J. Phillips**** June C. Pinkney**** Johann C. Pinto robin B. Pitcher*** Wanda Plachta*** Mary Jean & frank Potter*** Georgia Prassas**** Margrit & Tony rahilly****

Stephen ralls & Bruce Ubukata** The Carol & Morton rapp foundation**** Grant l. reuber** Mrs. Gabrielle richards* Carolyn ricketts*** Ms nada ristich emily & fred rizner* Clara robert Ms Virginia robeson Sidney robinson & linda Currie**** dr. Michael & Mary romeo**** John & Hannah rosen diane & Joseph rosenthal** Ken & Helen rotenberg* rainer & Sharyn rothfuss*** drs. Orest & Maureen rudzik**** david A. ruston** Ms Sharon Cookie Sandler*** Mallory Morris Sartz & John Sartz**** Stewart & dianne Saxe*** dr. & Mrs. Bruce Schaef**** Mrs. Ortaud Scherer* fred & Mary Schulz* dr. Marianne Seger**** Carol Seifert & Bruno Tesan** Mr. & Mrs. norman Shamie*** Victor & rhoda Shields*** Milton & Joyce Shier**** dr. Kevin Shiffman* david & Hilary Short*** dr. Birgitta Sigfridsson William Siegel & Margaret Swaine* In memory of dr. Bernard Slatt dr. & Mrs. Jeremy Sloan* Jay Smith & laura rapp Kenneth & Catherine Smith** Ms Muriel Smith & Mr. eric Ojala*** dr. Harley Smyth & Carolyn McIntire Smyth* dr. Joseph So** John & ellen Spears*** Martha e. Spears** Alex & Kim Squires**** The Steve & Sally Stavro family foundation* Celia & lee Steels** Oksana r. Stein** Mr. & Mrs. Gary & Sula Stern dr. & Mrs. Stephen Stern** John d. Stevenson*** James H. Stonehouse* Janet Stubbs dr. Peter Stroz & dr. Sophia Pantazi*** Anna Talenti*** eric Tang & dr. James Miller* Mr. & Mrs. Gordon Taylor*** John Todd & Jenny Ginder****

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John & liz Tory**** diana Tremain**** Ian Turner** riki Turofsky & Charles Petersen* Cindy & Gary Ullman** Sandra & Guy Upjohn** Tony & Mary van Straubenzee*** dr. r. B. Van Winckle dita Vadron & James Catty* edmond & Sylvia Vanhaverbeke*** Mr. & Mrs. Henry & Ann louise Vehovec*** dr. Yvonne Verbeeten** dr. Helen Vosu & donald Milner*** richard & nathalie Wachsberg Samara Walbohm & Joe Schlesinger diane Walker & rob Bell** elizabeth & Michael Walker** Philip & diana Weinstein dr. Bogomila Welsh* dr. Virginia Wesson** Ms eleanor Westney* Ms Anne-Marie Widner & Mr. Paul Szymanski** Mr. Brian Wilks elizabeth Wilson & Ian Montagnes**** Jeffrey Stewart Wilson* Ms ling Wong* nina & norman Wright** dr. laval Yau*** erik Yeo Morden Yolles**** Marion York† & robert Speer†* Marina Yoshida*** dr. Howard & Sybil Young**** Tricia Younger* George Zeman Susan Zorzi** Anonymous (24) FRIENDS OF THE COC As of January 3, 2011 SUSTAINING FRIENDS $1,600 – $2,249 dody Bienenstock* Iivi Campbell**** Mrs. Margaret Couch* ruth & John Crow** Jayne & Ted dawson**** Mr. Albert d. dunn Mrs. lois fleming**** richard & donna Holbrook**** Ms Suanne Kelman & dr. Allan J. fox* dr. & Mrs. r. W. Kimber** Tom C. logan Mr. A. Mafrici**** Mrs. eileen A. Mercier*** Mr. John nagel

dr. emilie newell* Mrs. Annette Oelbaum dr. norbert V. Perera**** Mrs. richard Gavin reid Go Sato**** Gary Shiff** Philip Somerville Jim Stewart & deborah Swail Mr. & Mrs. Vernon & Beryl Turner*** dr. O. r. Waler Gordon Waugh*** Ms June Yee** Anonymous (2) ASSOCIATE FRIENDS $1,100 – $1,599 Ms I. M. Allen**** In memory of M. Baptista** Michael & Janet Barnard* don Biderman**** Ms ethel Birkenshaw Bruce Burgess** Ms e. Burton** dr. Wendy C. Chan Pauline Cheung & Winston Koo Mr. darren day** Prometheum Institute** Ms Christine demont** Gary fitzgibbon** Mr. James dewhurst J. e. fordyce**** Miss Gillian foster** r. dalton fowler**** Klaus Multiparking Inc. John H. Galloway**** Alison Girling and Paul Schabas* Helen & Barry Goldlist**** Mr. Henry Gooderham** Mrs. Marion A. Green**** Mr. & Mrs. Michael e. Harrison**** Mr. & Mrs. H. C. Hatch*** Jean & Bill Heaslip**** lawrence & Beatrice Herman*** Mr. Josef Hrdina* donald Hughes*** Horace & elizabeth Krever**** Alan & Marti latta**** Claus & Heather lenk* Craig & Karen Mahood* Mr. Carl Morey*** Mr. Sean O’neill*** Clarence & Mary Pace* dr. roger d. Pearce** Ms Alexandra Petrenko Ms Beatrice riddell A. K. Sigurjonsson** C. Anderson Silber* david Smukler & Patricia Kern* Mr. Warren Sorensen & Mr. Gregory Williams**** dr. & Mrs. George Steiner*** Jane & Ted Stephenson*** Ms Peg Thoen*

Bill MacKenzie & Alan Westbrook** Janet White* ron Williams* drs. Jackson Wu & Viviana Chang Anonymous (4) CONTRIBUTING FRIENDS $700 - $1,099 Mr. roger Abbott Mrs. rosalen Armstrong**** Anne & Husayn Banani* Peter & leslie Barton** dr. Gail Beck & Mr. Andrew fenus Michael Benedict & Martha lowrie** Jeniva Berger** Mrs. William Birchall dr. B. derek & dr. Anne W. Birt**** dr. Jennifer Blake Mary Brock & Brian Iler*** Theresa & John Caldwell**** Betty Carlyle**** Jack A. Carr Mark Cestnik**** Carole Chabot & derek dodd** Barbara Charters**** Harold Chmara**** Joe T. r. Clarke**** dr. Marsha Cohen & Mr. Michael Mendelson** Mr. & Mrs. norman & louise Coxall** Mr. neil Crawford Mr. John A. Crocker & Mrs. Mary Crocker*** dr. domville* Mr. Steven d. donohoe**** Peter & Shashi eden* Mr. Thomas eiser**** Ms eleanor l. ellins**** Mr. Arthur english* Ms Sharon evans**** Mr. Kirk falconer** Mr. f. C. farr*** Joe & Helen feldmann** Brian A. ferguson*** richard & Gail flack** Mr. Morris flicht**** Mrs. & Mr. Jennifer & francis flower*** dr. & Mrs. A. Mervyn fox**** douglas G. Gardner*** elinor Gill ratcliffe C.M., O.n.l. dr. Gabriela Gohla dr. Bruno & Mrs. louise Golisky** lisa & Harvey Golombek in memory of Hilda & Isie Golombek* ricardo Gomez-Insausti dr. Wilfred S. Goodman**** Ms Ina K. Govan****

Canadian Opera Company 2010/2011 Season

Suzy Greenspan** Philo Handler* dr. & Mrs. Brian & Cynthia Hands**** Harper House Contracting ltd Mr. & Mrs. e. roy Harrison**** W. l. B. Heath*** In memory of Pauline Chorniuk Hinch Mr. david Holdsworth & Ms nicole Senecal richard & Susan Horner**** dr. Ivan & Mrs. diana Hronsky**** James Hughes** Pierre Hurtubise**** Mr. Sumant Inamdar* Mr. Kazik Jedrzejczak**** frances e. Johnson*** douglas & dorothy Joyce**** May & fred Karp** Heidi & Khalid Khokhar** Mai Kirch*** dr. & Mrs. l. A. Kitchell** Mr. & Mrs. I. P. & O. M. Komarnicky** Mr.& Mrs. Armin Kratel Mr. Jonathan Krehm Mr. & Mrs. Owen & Margie Kurin* Gediminas P. Kurpis**** Mr. James r. lake*** Harry lane** Mary-Jane large* Giles le riche & rosemary Polczer** Mr. Yakov lerner Mrs. Mary liitoja**** nathan & Glenys lindenberg Anne Mackay**** Kathy Marton Ms Ingrid Martin Mary McClymont**** Mary McGowan*** Jil McIntosh* Mr. Bruce McKeown*** Georgina Mclennan**** Sylvia McPhee**** Janis Medland Mr. & Mrs. david & Shirley Menzel* Suzanne Mess** Kathryn Mikoski & Hope Clement* frank & Anne Moir* Terry & dom Morris** david northcote & Suzanne Betcke** Jean O’Grady* Ms Cristina Oke** Karen Olinyk† William Ostrander*** Mr. Martti Paloheimo Mr. & Mrs. Joseph & letizia Paradiso** Barbara & Peter Pauly*

david Peachey & Georgia Henderson* Bruce Pearce*** Mrs. dorothy K. Piepke**** Ms ella Prindiville**** C. edward rathé**** dr. Peter ray*** dr. Shelley rechner**** Guylaine rheault-Oliver Ms Virginia robeson* Mr. david e. roman**** Mrs. Gertrude rosenthal**** dorothy & robert ross*** M. Sanvido*** William & Meredith Saunderson*** Barbara Sawaszkiewicz**** Miss elisabeth Scarff**** Patti & richard Schabas* Mrs. Sylvia Schmid**** Henry & Mary Seldon*** Anci Shafran**** robert Sherrin** Cheryl Shook* Ms elizabeth J. Shropshire* dr. & Mrs. Bernie & Bobbie Silverman* d. Bruce Sinclair* Joan Sinclair & John McConnell* Mary G. Spears**** Mrs. Harriet H. Stairs** Tony Stapells** dr. & Mrs. W. K. Stavraky** Scott Steele & Jan Korman robert & nancy Stephenson* Marta Stewart**** Mr. Paul Szaszkiewicz & Ms Peggy Theodore Anna M. Tait**** Ms Michelle Tan* Mrs. Yoka Terbrugge dr. M. lynne Thurling & dr. John Treilhard** dr. Claude Tousignant* david & diana Trent**** Mrs. norene Turvolgyi**** dr. nancy f. Vogan**** Mr. Wayne Vogan†**** dr. Peter Voore*** Mr. John M. Welch**** Ms Marta Zerenyi Anonymous (15) THE ENCORE LEGACY The encore legacy is the planned giving program of the Canadian Opera Company. Planned giving is making the decision today to provide a gift for the Canadian Opera Company that may not be realized until after your lifetime. Planned giving also allows many people to

make a significant gift without altering their current lifestyle. Gifts planned today, that will ultimately affect your estate, allow you to make a statement of support that will become a lasting legacy to the COC. In addition, gift planning may provide significant tax benefits for your estate. The Canadian Opera Company gratefully acknowledges and thanks the following individuals who have included the COC in their estate planning: dr. larry M. Agranove Isobel Allen renata Arens & elizabeth frey Mrs. rosalen Armstrong ron Atkinson & Bruce Blandford J. linden Best & James G. Kerr david Bowen Marnie M. Bracht Walter Carsen earl Clark Brian Collins & Amanda demers earlaine Collins david H. Cormack Ann de Brouwer Helen drake rowland d. Galbraith douglas G. Gardner Michael & Anne Gough l. A. Grover George & Irene Hamilton Joan l. Harris James Hewson John r. Higgins Mr. Kim Yim Ho & Walter frederic Thommen douglas e. Hodgson Matt Hughes lynne Jeffrey Ann Kadrnka Kathryn Kossow Mr. Gurney Kranz Jo lander Peggy lau Marjorie & roy linden J. Bruce Macdonald Ms lenore Macdonald dr. Colin M. Mailer r. Manke Tim & Jane Marlatt Margaret McKee Sylvia M. McPhee dr. Alan C. Middleton eleanor Miller donald Morse Sue Mortimer Mr. & Mrs. James d. Patterson Mervyn Pickering

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Gunther & dorothy Piepke Ms Georgia Prassas K. f. read & G. longchamps dr. John reeve-newson Mrs. Margaret russell Cookie & Stephen Sandler J. M. doc Savage david Serber Claire Shaw r. Bonnie Shettler david e. Spiro dr. d. P. Stanley-Porter doreen l. Stanton lilly Offenbach Strauss drs. W. & K. Stavraky Janet Stubbs Ann Sutton ronald Taber Vivian Treacy Mrs. l. Treutler n. Suzanne Vanstone† Marie-laure Wagner Hugh & Colleen Washington Marion C. Wilson Marion York† Anonymous (41) CORPORATE MATCHING PARTNERS The Canadian Opera Company gratefully acknowledges the following organizations that have matched gifts by their employees: Canadian Tire Corporation limited Ivanhoe Cambridge Inc Goodman & Company Investment Counsel ltd. fM Global foundation The above Individual Support Gifts were made as of January 3, 2011. * ** *** **** † ‡

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.

MAJOR CORPORATE SPONSORS 2010/2011 SEASON

Sun life financial Accessibility Program encompassing SUrTITleS™, Wheelchair Seating, Hearing-Assistive and Vision-Impaired devices

Official Automotive Sponsor of the COC at the fSCPA

Major Supporter, ensemble Studio Production Sponsor Mozart’s The Magic Flute

Xstrata ensemble Studio School Tour

BMO financial Group Pre-Performance Opera Chats and BMO financial Group Student dress rehearsals Aida Opening night Sponsor

Presenting Sponsor Opera for a new Age and Operanation VII

Production Co-sponsors Adam’s Nixon in China

Official Canadian Wine of the COC at the fSCPA

Preferred fragrance Sponsor

Preferred Hospitality Sponsor

Official Media Sponsors

Canadian Opera Company 2010/2011 Season

Presenting Sponsor, free Concert Series in the richard Bradshaw Amphitheatre

Preferred Medical Services Provider

digital Marketing Sponsor

2010/2011 SPONSORS Preferred Airline Sponsor

rentals Supplier

Preferred florists

Mario Séguin Quince Flowers Tidy’s Flowers Wild Thyme Other suppliers: THe BUTler dId IT nestlé Waters Torrié Coffee

DIAMOND PERFORMANCE SPONSORS

PERFORMANCE SPONSORS ArIAS CTVglobemedia Burgundy Asset Management davies Ward Phillips & Vineberg llP delvinia fionn MacCool’s four Seasons Hotels and resorts HSBC Bank Canada louis Vuitton PwC Standard life OPENING NIGHT SPONSOR fionn MacCool’s HOSTING SPONSOR

PROGRAM SPONSORS Budd Sugarman foundation, Create an Opera Supporter Great West life, london life and Canada life, Opera Storytime Program Supporter The Globe and Mail, Subscriber Ticket Back Sponsor KPMG llP, Xstrata ensemble Studio School Tour Performance Sponsor Standard life, Xstrata ensemble Studio School Tour Performance Sponsor Torys llP, After School Opera Program Supporting Sponsor CORPORATE AND FOUNDATION DONORS MAJOR GIFTs

2010/2011 MEDIA SPONSORS & IN-KIND SUPPORTERS CBC radio Two remenyi House of Music ltd. ANNUAL FINE WINE AUCTION 2011 host sponsor Crush Wine Bar OPERANATION VII PReseNTING sPONsOR Td Bank financial Group OFFICIAL FRAGRANCe Calvin Klein Beauty DINNeR sPONsOR e-l financial limited

$10,000+ Audrey S. Hellyer Charitable foundation The Hope Charitable foundation The Hal Jackman fund at the Ontario Arts foundation The Mclean foundation $5,000 to $9,999 225490 Investments limited Britten-Pears foundation IATSe local 58 Charitable Stage Technicians Toronto SnC lavalin Unit Park Holdings Inc. William and nona Heaslip foundation $3,000 to $4,999 The Calgary foundation – nellie Hicks Memorial fund The Keg Spirit foundation $2,000 to $2,999 Classical 96.3 fM MAC Cosmetics Mercedes-Benz Canada Inc. Vida Peene fund – Canada Council $1,000 to $1,999 Milgram Group of Companies ltd. Powis family foundation

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GOVERNMENT SUPPORT The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments.

OPeRATING GRANTs

We acknowledge the support of the Canada Council for the Arts which last year invested $26.3 million in music throughout Canada. nous remercions de son soutien le Conseil des Arts du Canada, qui a investi 26,3 millions de dollars l’an dernier dans la musique à travers le Canada.

eNseMBLe sTuDIO

sPeCIAL PROJeCT FuNDING for the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: department of Canadian Heritage Human resources and Skills development Canada

CREDITS & ACKNOWLEDGMENTS The Canadian Opera Company would like to thank all those who volunteer both on a daily basis and for special events with the company. Michael Cooper: Official photographer The COC is a member of Opera America and Opera.ca. The COC operates in agreement with Canadian Actors’ equity Association. The COC operates in agreement with I.A.T.S.e., local #58 and local #822.

SUPERNUMERARY Michael Gibbons

Canadian Opera Company 2010/2011 Season

SUN LIFE FINANCIAL

We are pleased to support the Sun Life Financial Accessibility Program, at the Canadian Opera Company, which encompasses SURTITLESTM, wheelchair seating, hearing-assistive and vision-impaired devices.

SURTITLES is a registered trade-mark of the Canadian Opera Company.

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NIXON IN CHINA

CLASH OF THE TITANS BY ERIC DOMVILLE

ohn Adams has established himself as a leading composer in many musical fields, perhaps most notably in opera. He was born in 1947 in Worcester, Massachusetts, to parents who had performed in big swing bands, a sound world which permeates sections of Nixon in China (1987). After graduating from Harvard he moved to the West Coast. His music also moved stylistically from Serialism to Minimalism to freer forms of expression including elements of jazz, rock and other world musics, evolving an idiom one might term “the higher eclecticism.” His varied stage works offer also a critique of operatic conventions from Handel, Mozart, Verdi, and Wagner, to Philip Glass. The last named has also sought to revitalize the “museum art” of opera by focusing on actual historical figures such as Gandhi in Satyagraha (1980). Adams acknowledges this work’s impact: “the debt to Philip Glass’s Satyagraha is unmistakable.” The idea for Nixon came from the innovative director Peter Sellars, a frequent collaborator with Adams. Sellars brought

Canadian Opera Company 2010/2011 Season

The COC presents Nixon in China. A scene from the Opera Theatre of St. Louis production, 2004. Photo: Ken Howard

together with Adams two important figures: Mark Morris, the choreographer, and Alice Goodman, a poet and translator of plays who had never written a libretto. In any event, it proved a winning combination. Goodman’s subtle use of eight-syllable lines rhyming in pairs (but with near-rhyme rather than perfect rhyme) keeps the ear and emotions constantly engaged, for example in Chou En-lai’s aria which ends the work: Put down my work and go to bed. How much of what we did was good? Everything seems to move beyond Our remedy. Come, heal this wound. Goodman’s text, and indeed the whole scenario, skillfully blends the imagined

with the actual. Margaret MacMillan, the distinguished historian, comments in an e-mail: “And when I read the libretto I was struck by how much of it drew on the historical record. The lines in the meeting between Mao and Nixon, for example, came from the actual transcript.” (quoted with permission) In his engrossing memoir Hallelujah Junction (2008), Adams has this to say: “Nixon’s visit to China, itself a carefully staged media event, overflowed with an abundance of themes to pick from. On one level it signified a clash of the titans. Nixon and Mao virtually embodied the 20th century’s great agonistic struggle for human happiness: capitalism versus communism: the market economy versus the social welfare state. The lead characters

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NIXON IN CHINA: Clash of the Titans

The COC presents Nixon in China. Tracy Dahl as Chiang Ch’ing in the Opera Theatre of St. Louis production, 2004. Photo: Ken Howard

were so vivid they literally cried out for operatic treatment, and Alice shrewdly caught the essence of each.” (p. 136) No matter how fine the libretto, however, in opera music predominates. Put Goodman’s verse together with the pulsation, frequent repetitions and roiling harmonies of Adams’ score, and you have a modern classic. As may happen, sometimes words and music work together, sometimes against each other. The tensions and anxieties of the participants come alive. The double helix of politics and show business becomes apparent as soon as the Nixons emerge from Air Force One in the opening scene. The “Tricky Dicky” aspect of the President sounds immediately in the elongated phrase on “Smoother” as he describes their flight; he is indeed outwardly a “smooth” man. Yet the insecurities which plague him as to the outcome of this huge political gamble are also realized in his entrance aria “News has a kind of mystery” with its seemingly pointless repetitions and rapid pulse. Here

Canadian Opera Company 2010/2011 Season

is a conflicted character only too well aware that the eyes and ears of the world are upon him, revelling in the publicity, dodging the strong possibility of failure. The “dissolve” into the scene in Mao’s study extends this sense of tension. Mao’s role is purposely set uncomfortably high and also requires a voice of heldentenor amplitude, conveying effort. The Chairman is already ill but still capable of high energy, a quality demanded of all the principals. Act I is dominated by male characters in the public realm, whereas Act II belongs more to the female figures. Much of the drama here derives from the stark contrast between the quintessential middleAmerican Pat Nixon and the coarse and domineering Chiang Ch’ing, Mao’s third wife and the driving force behind the Cultural Revolution, which destroyed so much culture and so many lives. On a tour of “typical” Chinese sights, Pat stops at the Gate of Longevity and Good Will to express her vision of an America at peace:

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NIXON IN CHINA: Clash of the Titans

The COC presents Nixon in China. Maria Kanyova as Pat Nixon in the Opera Theatre of St. Louis production, 2004. Photo: Ken Howard

In the midst of this bedlam, she sings her aria “I am the wife of Mao Tse-tung.” Her vision ends: Let me be A grain of sand in heaven’s eye And I shall taste eternal joy.

This is prophetic!... The simple virtues root and branch And leaf and flower The aria duly flowers into the lyrical high point of the opera (in line of descent from great 19th-century outpourings): the hope that the American Dream may become a reality. Her Chinese counterpart, on the other hand, unleashes a violent opera The Red Detachment of Women, in which the heroine, Wu Ching-hua, is chained and whipped by a lustful overseer, Lao Szu, before escaping and leading a revolution. This opera within an opera morphs into a phantasmagoria as the American onlookers become embroiled in the action. Which is the “opera” and which is “reality?” Henry Kissinger appears to turn into the repellent Lao Szu, while Pat, outraged at the injustice and cruelty of the story, forces her reluctant husband to join in comforting Ching-hua. Chiang Ch’ing also intervenes, firing a revolver which may use live ammunition.

Canadian Opera Company 2010/2011 Season

This opera/ballet is presented as the crudest propaganda, but it undeniably provides an overwhelming climax to the act. The real-life Nixon is reported to have enjoyed the original performance immensely. In this sequence, East/West are intentionally confused. The Eastern story is set to a parody of Western music. Adams observes: “I’d noticed when watching films of these Chinese Communist ballets that the music, rather than being indigenous Chinese music, faithful to the sources of the stories, had sounded instead like very bad imitations of Russian and French ballet music.” (p. 141) How to follow this Dionysian frenzy? The last act serves as a kind of Apollonian antidote. It is not an anticlimax but a digging deeper into the psyches of these world leaders. With the exception of Kissinger, who ignominiously bolts for the toilet “at the double,” the characters spend a sleepless night meditating on the formative experiences of their lives. Mao recounts the Long March and his meeting with Chiang Ch’ing. They dance. Nixon recalls his service in World War II as a naval supply officer in the Pacific, with Pat receiving his letters at home. Chou En-lai hopes that something worthwhile will come of all this. Their soliloquies weave in and out of each other like symphonic strands, an immense nocturne of memories and

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NIXON IN CHINA: Clash of the Titans

hopes, edging towards a new day, a new age. Adams humanizes his characters rather than demonizing them: he is an artist, not an ideologue. This respect for his creations has led him on occasion into trouble with audiences and critics, most notoriously with his next opera, The Death of Klinghoffer (1991). The often beautiful music given to the Palestinian terrorists has offended many, but Adams responds about the text and music: “they would be true expressions of the feelings of the characters that sing them.” (p. 164) So it is in this opera and also in Doctor Atomic (2005), which intertwines personal feelings with the events leading to the explosion of the first atomic bomb in 1945. In her detailed and insightful historical study, also titled Nixon in China (2006), Margaret MacMillan presents not only the summit but also the stages leading up to and away from that fateful week in February 1972, when Nixon took the courageous step of visiting China after more than 20 years of enmity between the two great nations. But the intoxicating

triumph proved short-lived. In June 1972, four months later, there occurred the break-in at the Democratic Party offices in the Watergate Hotel, the episode which eventually brought about Nixon’s resignation as President on August 8, 1974. Two years later still, on September 9, 1976, Mao died. Formal diplomatic relations were not established until 1977. Adams’ opera does not deal with any of that. It has enough to do in capturing the essence, through the interplay of fact and imagination, of those heady few days which became, as the subtitle of Margaret MacMillan’s book puts it: “the week that changed the world.”

Eric Domville is Professor Emeritus of English at the University of Toronto. He lectures and broadcasts on opera, and is a member of the Volunteer Speakers Bureau of the Canadian Opera Company. For further insights into Nixon in China, please read Suzanne Vanstone's interview with set designer Allen Moyer in the winter issue of Prelude, available online at coc.ca.

The COC presents Nixon in China. Robert Orth as Richard Nixon in the Opera Theatre of St. Louis production, 2004. Photo: Ken Howard

Canadian Opera Company 2010/2011 Season

INTRODUCING THE 2011/2012 SEASON BY GIANMARCO SEGATO

he Canadian Opera Company has been acknowledged to possess an opera house which rivals the best in the world as well as an unparalleled orchestra and chorus. Now, as we unveil our exciting 2011/2012 season, we enter a new era with an even greater commitment to bringing our audiences the best international artists along with visually-stunning, dramaticallyengaging productions both home-grown and from around the world. The season opens with the company premiere of Gluck’s classical lyric tragedy, Iphigenia in Tauris starring renowned mezzo-soprano Susan Graham, the world’s leading Iphigenia, making her muchanticipated COC debut. Graham leads a dream cast which includes Russell Braun as Iphigenia’s brother Orestes, and former COC Ensemble member, tenor Joseph Kaiser as his best friend, Pylades. Robert Carsen, who will stage our Orfeo ed Euridice this spring, returns to direct a production which has already played to great acclaim in London, Chicago and San Francisco. Ms Graham triumphed as Iphigenia in each of those cities in a portrayal heralded for its “nobility and vibrant vocal beauty” (Chicago Tribune) as well as its “continuous dramatic power and musical mastery” (Chicago Sun-Times).

Canadian Opera Company 2010/2011 Season

She enthusiastically returns to Carsen’s staging this fall in Toronto: “I can’t stress enough how visually exciting the piece is,” she says, “And I think the star dressing room should be given to the dancers and the lighting designer! The dancers are a kind of Greek chorus who tell the story – they play the Priestesses on stage, they tell the ‘back’ story, they are the nightmare – they’re everything.” With Iphigenia in Tauris, Gluck had the greatest triumph of his long career, composing a score of refined, classical beauty which lays bare the searing emotions of this Greek tragedy. Facing imminent death at the hand of her own father, Iphigenia is rescued by the goddess Diana and transported to the island of Tauris. She is made a priestess and must sacrifice any stranger who appears on the island. In a tragic twist of fate, one of those victims is her long-lost brother, Orestes. The young Spanish conductor Pablo HerasCasado, who is currently leading our winter 2011 performances of Nixon in China, returns to conduct. In addition to being a champion of contemporary music, Heras-Casado also performs and records with the Compañía Teatro del Príncipe in Aranjuez, an early instrument group which he co-founded. The fall also marks the return of Verdi’s perennial favourite, Rigoletto, in a new production set in the rich, ribald surroundings of a 19th-century gentleman’s club. In this patriarchal world, the desires of powerful, aristocratic men are given free reign over the women whose bodies, and very lives, are at their mercy. The jester Rigoletto facilitates his master’s debauchery but pays the ultimate price with the sacrifice of his own most precious and hidden love. The COC presents Love from Afar. A scene from the Vlaamse Opera production, 2010. Photo: Annemie Augustijns

For blogs, interactive quizzes, and podcasts featuring music and interviews, visit coc.ca.

INTRODUCING THE 2011/2012 SEASON

Christopher Alden, who directed the COC’s highly acclaimed production of Wagner’s The Flying Dutchman last season, brings his singular vision to this new production. “Often people are dulled to what the true intent of a piece is by decades of seeing it done in a comfortable way,” he says. “I try to get at something which does get back to the original kick that the piece had when it was first performed.” Our cast includes a tantalizing selection of some of the operatic world’s top up-andcoming singers: baritones Quinn Kelsey and Lester Lynch share the role of Rigoletto; his daughter Gilda is sung by sopranos Ekaterina Sadovnikova (who recently appeared as Gilda at Covent Garden) and COC Ensemble member Simone Osborne (one of our winter 2011 Paminas in The Magic Flute) while tenors Dimitri Pittas and David Lomelí appear as the Duke. COC Music Director Johannes Debus leads the forces onstage and in the pit. Winter 2012 opens with Puccini’s Tosca, one of opera’s hallmark “diva” roles which will be sung by our own internationallyrenowned diva, Adrianne Pieczonka. Saying it has “always been a dream role,” her Los Angeles debut as Tosca drew high praise from the Los Angeles Times: “Adrianne Pieczonka sang the role for the first time Saturday. The Canadian soprano will surely be singing it for a long time. She was radiant.” Tosca is one of the most popular operas of all time, and for good reason: its fast-paced plot is full of romance and intrigue, its characters are vivid and larger-than-life, and it features some of Puccini’s most deeply felt melodies. Set in Rome in the year 1800, its heroine is a famed opera singer whose lover has revolutionary sympathies. In her struggle to protect the man she loves from the corrupt and bloodthirsty Chief of Police, she is forced to make a terrible choice. Alternating with Ms Pieczonka as Tosca

Canadian Opera Company 2010/2011 Season

The COC presents Iphigenia in Tauris. Susan Graham (top) as Iphigenia in the Lyric Opera of Chicago production, 2006. Photo: Dan Rest

is COC favourite Julie Makerov who in recent seasons has sung the title role in Rusalka and Senta in The Flying Dutchman to great critical and audience acclaim. Uruguayan tenor Carlo Ventre and ItalianBrazilian tenor Thiago Arancam make their COC debuts as Cavaradossi as does American baritone Mark Delavan as Scarpia. The cast will inhabit the COC’s lavish 2008 production, featuring Empire-era costumes and stunning sets depicting the churches and palaces of Rome. Combining an opulent production with a renowned cast, this well-loved Puccini classic will be brought to the stage in grand style. The winter of 2012 also marks the COC and Canadian premiere of Kaija Saariaho’s Love from Afar (L’amour de loin) which debuted at the 2000 Salzburg Festival and has since gone on to become one of the most performed operas of its time. It will be presented in a new staging by Daniele Finzi Pasca, best known for his work with Cirque du Soleil. As the Swiss director has remarked, “Saariaho’s music is absolutely sensual and

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INTRODUCING THE 2011/2012 SEASON

fluid… I want to make the production dance with this fluidity.” Finzi Pasca uses innovative “cirque” skills to conjure a dreamlike atmosphere in which reality isn’t quite as it appears. Composer Saariaho drew her inspiration from the life and song texts of Jaufré Rudel, a French prince and troubadour of the 12th century. As the opera begins, Jaufré has grown weary of his current, aimless life and is anxious to explore love’s frontiers. By way of a traveling Pilgrim he learns of Clémence, a beautiful woman living in Tripoli. The Pilgrim carries messages of yearning between the lovers, until the troubadour finally journeys to meet his distant desire and at last, his real and fantasy worlds come together. The score’s rich tapestry of sound emerges from Saariaho’s innovative combination of the traditional instrumental sections of the orchestra with electronics. The resulting music contains striking harmonies which are so thick they almost “appear” as sound colour. Above all though, this is opera and the vocal line remains firmly in the foreground, never overshadowed by the lush orchestral structure. Saariaho enriches her sound world further with allusions to the medieval songs of the troubadours. As Clémence we welcome Erin Wall, one of the most exciting young sopranos on the current operatic scene. Company favourite, baritone Russell Braun returns to the COC as Jaufré while the enigmatic Pilgrim is sung by mezzo-soprano Krisztina Szabó, whose most recent COC appearance was as Idamante in last season’s Idomeneo. COC Music Director Johannes Debus presides from the pit. Spring 2012 will truly sparkle when Jacques Offenbach’s The Tales of Hoffmann returns to the COC for the first time in 30 years. Offenbach called it an opéra fantastique and it represented the

Canadian Opera Company 2010/2011 Season

culmination of a lifetime of composing operettas, during which he sought to write a “real opera.” The title character is a writer of fantastical fables whose dark reminiscences recount his many failed attempts to find love. This demanding tenor role will be shared by American Russell Thomas and COC favourite David Pomeroy, who recently made his Met debut as Hoffmann. A woman is at the heart of each of the three stories Hoffmann tells, and we have three outstanding sopranos to sing these roles. The first is Winnipeg-born Andriana Chuchman whose virtuosic coloratura talents will be on display as Olympia, the exquisite doll-like girl who sings the famous “Doll Song.” In the second tale Calgary-born Erin Wall makes her second COC appearance of the season portraying Antonia, the gentle artist whose vocal gifts threaten her very life. Finally we meet the Venetian courtesan, Giulietta, sung by the rising American soprano, Keri Alkema. Two prominent Canadians complete the cast: bass John Relyea makes his longawaited COC debut as Hoffmann’s four nemeses, Lindorf, Coppelius, Dr. Miracle and Dapertutto, while mezzo-soprano Lauren Segal (The Magic Flute, Nixon in China) returns as Hoffmann’s companion Nicklausse. Johannes Debus conducts a score which is by turns playful, haunting, raucous and, above all, memorable! The spring of 2012 continues with a double-bill of darkly witty, one-act operas: Zemlinsky’s A Florentine Tragedy and Puccini’s Gianni Schicchi. They will be presented in a new production by Catherine Malfitano, one of the world’s most acclaimed sopranos who is now a busy opera director. Sir Andrew Davis, conductor laureate of the Toronto Symphony Orchestra who leads this spring’s Ariadne auf Naxos, returns to conduct.

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Alan Opie as Scarpia and Eszter Sümegi as Tosca in the COC's production of Tosca, 2008. Photo: Gary Beechey

Zemlinsky’s A Florentine Tragedy is based on an unfinished play by Oscar Wilde. Its language is florid and clever, as you would expect from Wilde, and the story is set to an almost Straussian score, redolent of lush, cinematic romanticism. This opera is a COC premiere and a chance to discover a rare gem of the repertoire. Puccini’s Gianni Schicchi is a fast-paced comedy about a greedy, old-money family who are dismayed to discover they have been excluded from a wealthy, deceased relative’s will. They hire the street-smart, nouveau-riche Schicchi to help them out of their dilemma only to suffer the consequences! Puccini’s rare foray into comedy is lavished with his characteristic, sun-drenched melodies including one of the most famous of all soprano arias, “O mio babbino caro.” Schicchi and Simone (in Florentine Tragedy) are played by the renowned American bass-baritone Alan Held. Our 11/12 season closes with a stunning production of Handel’s Semele, directed by famed Chinese sculptor and performance artist Zhang Huan, who envelops elegant Baroque melody within a Chinese setting, that is by turns whimsical, fantastic, and grandiose. An actual Ming Dynasty ancestral temple, made out of carved wood and salvaged by Huan from a small town outside Shanghai, serves as the backdrop for the entire production. To this are added dazzling and innovative visual effects

Canadian Opera Company 2010/2011 Season

involving enormous mirrors, puppetry, a spectacular dragon, stunning Chinese period costumes, and artists that sing as they move suspended through the air. In Semele, a love affair between the god Jupiter and Semele goes awry when the human princess sets her mind to become immortal. Handel produced a score of great beauty and sensuality which includes one of his most well-known tunes, “Where’er you walk.” Nova Scotia coloratura soprano Jane Archibald (who makes her COC debut this spring as Zerbinetta in Ariadne auf Naxos), is the flighty, narcissistic Semele and she leads a cast which also includes former Ensemble Studio member, mezzo-soprano Allyson McHardy (War and Peace, Eugene Onegin, Madama Butterfly) as Jupiter’s jealous wife, Juno. Italian Baroque opera specialist Rinaldo Alessandrini makes his COC conducting debut. With four company premieres, eye-catching new productions and the return of two timeless classics, our 11/12 season continues to build the Canadian Opera Company’s future as one of the world’s leading opera companies!

Gianmarco Segato is Retail and Editorial Co-ordinator at the Canadian Opera Company. For further insights into the COC's 2011/2012 season, please read the special supplement in the winter issue of Prelude, available online at coc.ca.

PATRON INFORMATION AND POLICIES Etiquette Patrons are reminded that R. Fraser Elliott Hall is an extremely lively auditorium and that all audience noise will be accentuated and will be audible to other patrons. Turn off all electronic devices, avoid talking, coughing, humming, moving loose seats, kicking the backs of seats, rustling programs, and unwrapping candies or cough drops. In consideration of patrons with allergies please avoid wearing strongly perfumed beauty products and fragrances. Please remain in your seat until the performance has completely ended and the house lights have been turned on. Electronic Devices Wristwatch chimes, cellular phones, pagers and all other electronic devices are extremely disruptive and must be turned off before the performance. If a patron has an emergency and must 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. These devices MUST be checked at the coat check before entering the auditorium. 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. 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 will not be readmitted and are invited to view the performance on the large monitor in the Richard Bradshaw Amphitheatre (located between Rings 3 and 4). Children and Babes-in-Arms All patrons, including children, must have a ticket for the performance. All children must be seated next to an accompanying adult. Young children should be able to sit quietly throughout the performance. If unable to do so, children and their accompanying adult will be asked to leave the auditorium. Babes-in-arms will not be admitted. Patron Services Located in the Lower Lobby, the following services are available: Coat and Parcel Check – Rental of back supports, binoculars and infrared hearing assistive devices Booster Seats – (on a first-come, first-served basis) Medical Emergencies and First Aid A house doctor is present at all performances. Please contact an usher if medical services are required. Lost and Found During performances please speak with an usher or visit Patron Services at the Coat Check on the Lower Lobby. Following performances, all lost and found items will be stored at the security desk at Stage Door. Please call 416-363-6671 for information.

Canadian Opera Company 2010/2011 Season

Ticket Services Canadian Opera Company subscriptions and single tickets are available through COC Ticket Services ONLINE: www.coc.ca BY PHONE: 416-363-8231 or long distance 1-800-250-4653 Monday to Friday – 10 a.m. to 6 p.m. Saturday – 10 a.m. to 4 p.m. IN PERSON: Four Seasons Centre Box Office 145 Queen St. W. Monday to Saturday – 11 a.m. to 6 p.m. or through first intermission Sunday (performance days only) – 11 a.m. to 3 p.m. or through first intermission The Four Seasons Centre 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 single ticket prices. For more information or to reserve seats call 416-306-2356. Parking There is parking on a first-come, first-served basis for about 200 vehicles underneath the Four Seasons Centre. The entrance is located on the west side of York Street, south of Queen Street. Additional parking is conveniently located just steps away in the Green P lot underneath Nathan Phillips Square. For directions visit www.greenp.com. Four Seasons Centre Facility Tours Regularly scheduled tours of the Four Seasons Centre take place on most Saturdays at noon. Please visit www.coc.ca for complete schedule. To inquire about private group tours please call 416-363-6671. BMO Financial Group Pre-Performance Opera Chats The Canadian Opera Company Volunteer Speakers Bureau offers free, insightful chats about the stories, music and background of all COC performances, 45 minutes prior to each performance in the Richard Bradshaw Amphitheatre. Food and Beverage Service We are pleased to offer, for the convenience of all of our patrons, a pre-order system for intermission purchases. Our pre-order system is designed to decrease your wait time at the bar during intermission and we invite you to make use of it at every COC performance. Bars are located throughout the Isadore and Rosalie Sharp City Room’s many levels. Food and beverages are not permitted in R. Fraser Elliott Hall. Special Events and Catering The Four Seasons Centre for the Performing Arts is available for rental for all of your presentation, meeting or special events needs, with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit www.fourseasonscentre.ca or call 416-363-6671. The Opera Shop Located on the orchestra level of the Isadore and Rosalie Sharpe City Room, the COC's Opera Shop offers a fine selection of opera recordings on CD and DVD, as well as opera-related books, giftware and COC souvenirs.

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