Hercules 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 Spring 2014

HERCULES

CONTENTS 4

MOMENTS OF DISCOVERY Delving Deeper into Hercules BY CLAIRE MORLEY

12 DEVEREUX DREAM TEAM A Stellar Cast Brings Elizabethan Court to Life BY GIANMARCO SEGATO

24 MASTERING MASSENET Ferruccio Furlanetto Leads an Incomparable Cast BY CLAIRE MORLEY

THE COC IS THRILLED TO PRESENT ITS 2014/2015 SEASON

Top: Hercules (Lyric Opera of Chicago, 2011). Photo: Dan Rest Bottom: Richard Bernstein as Sancho Panza in Don Quichotte (Seattle Opera, 2011). Photo: Rozarii Lynch

Discover our six operas on the following pages: Falstaff, pg. 10 Madama Butterfly, pg. 16 Don Giovanni, pg. 20 Die Walküre, pg. 22 The Barber of Seville, pg. 30 Bluebeard’s Castle/Erwartung, pg. 32

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

Spring 2014

n CANADIAN OPERA COMPANY EDITORS: Gianna Wichelow, Senior Manager, Creative and Publications; Claire Morley, Associate Manager, Editorial n RJ PERFORMANCE MEDIA INC.: PRESIDENT AND PUBLISHER: Joe Marino n CEO: Frank Barbosa n SECRETARY TREASURER: Rajee Muthuraman n FINANCE: Gina Zicari n NATIONAL ACCOUNT DIRECTORS: Danny Antunes, Gary Bell, Tom Marino n ART DIRECTOR /DESIGN: Jan Haringa n Cover images: Hercules: Eric Owens as Hercules in the COC/Lyric Opera of Chicago (LOC) co-production of Hercules, 2011. Photo: Dan Rest. Roberto Devereux: Hasmik Papian as Elisabetta in the Dallas Opera production of Roberto Devereux, 2009. Photo: Karen Almond. Don Quichotte: John Relyea as Don Quichotte in the Seattle Opera production of Don Quichotte, 2011. Photo: Rozarii Lynch

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

MOMENTS OF DISCOVERY DELVING DEEPER INTO HERCULES BYCLAIRE MORLEY

f opera is a profoundly collaborative art form, it could hardly ask for a better keeper than Peter Sellars. “I don’t think of myself as a director ever,” he explains. “You have amazing people in the room – brilliant singers, composer, and usually somebody Peter Sellars who wrote pretty amazing words. You have visual art and you have movement. Somebody has to invite all these elements to meet in interesting ways, to take risks and actually have a conversation about something that is difficult and not obvious. All of these complicated interactions need someone to help negotiate the exchange – my job is to be useful in those conditions.” Sellars’ collaborative approach is especially evident in Hercules, allowing all five singers in this production (Eric Owens, Alice Coote, David Daniels, Richard Croft, Lucy Crowe) to establish a powerful rapport and chemistry that is rare to witness on stage. This is the second time this cast and creative team have worked together on Hercules, the first occurring in 2011 when the production premiered at Lyric Opera of Chicago and was called “psychologically penetrating and spellbinding” (LA Times). Having the chance to see them work together again is to Toronto’s advantage. 4

Canadian Opera Company 2013/2014 Season

Alice Coote as Dejanira and David Daniels as Hyllus. All production photos from the COC/Lyric Opera of Chicago (LOC) co-production of Hercules, 2011, LOC. Photos: Dan Rest

As Sellars points out, “We can go further. The first time you’re just trying to pull it together; the second time out you can say ‘Okay, we know what this is, now let’s go much deeper.’” Even before arriving in town for rehearsals, the cast began revisiting their roles as they prepared to work together as a team again. As Alice Coote (Dejanira) put it, “I can’t wait to see the cast of Hercules again. The profundity of the piece means we get kind of close!” And Lucy Crowe, who portrays prisoner of war Iole says, “Having lived with the role for the past three years, the character has developed further in my mind. I think about her – I will watch the news and see victims of war, unfortunately too often. This adds to the depth of the emotions with which I portray her.” In fact, Hercules conductor Harry Bicket, who was also part of the 2011 Chicago team, considers Iole’s first aria (“Daughter of Gods, Bright Liberty!”) to be a particularly moving moment. Iole has been captured and, in Sellars’ production, sings her aria about freedom while chained, wearing an orange jump suit and black hood. Bicket recalls, “We were worried people

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MOMENTS OF DISCOVERY: Delving Deeper into Hercules

might be offended, but Peter’s take was actually that, for instance, when an American president or defense minister talks about freedom and what it means to go liberate another country, it has a very Hercules conductor Harry Bicket different resonance to somebody who is tied up and being tortured. I’m not someone who thinks that all opera should be directly political – this is more of a human issue, and I think that speaks to people of any political persuasion.” As Bicket points out, “One of the advantages of Handel is that the score is really just a sketch – you aren’t given exact instructions the way you would with a piece by Stravinsky or Strauss. With Handel, in many ways, it’s more open.” Sellars adds, “What’s so beautiful about Baroque music is you can sing it in an extremely personal way – it’s very improvisatory. Each performer creates something that is quite personal – you witness somebody searching their own heart and finding their own confession, moment of discovery, and moment of recognition.” Aiding in the search for these moments is, according to David Daniels (Lichas), what makes Sellars particularly strong at directing Handel operas. “Peter makes everything so relevant, the way Handel is also very relevant the way he writes his music and characters. People really connect with Handel emotionally.” Eric Owens (Hercules) echoes Daniels’ sentiments, and recalls that at the end of rehearsals in Chicago, “sometimes we would all just be crying. Peter does not direct to provide comfort to his audiences – he directs to make things relevant to them.”

Richard Croft as Hyllus and Lucy Crowe as Iole

Ultimately, these intense experiences translate into something that can be felt by artists and audience alike. And delving this deeply into the opera and each role requires profound levels of trust between everyone involved, allowing for the creation of that magical rapport we witness on stage. When it comes time to perform, Richard Croft (Hyllus) says that “Going out on stage is a lot like going into battle. It’s good to know that Harry will be there for us in the pit.” Says Bicket, “Anyone who has ever done a show with Peter thinks it’s the best thing they’ve ever done. He has a wonderful ability to make people feel what they are doing is really important.” n Claire Morley is Associate Manager, Editorial at the Canadian Opera Company.

FOR FURTHER INSIGHT INTO THE COC’S PRODUCTION OF HERCULES, PLEASE READ THE ARTICLE NOT TO PERISH, IN THE SPRING ISSUE OF PRELUDE, AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

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HERCULES

Eric Owens as Hercules

OPERA BACKGROUND George Frideric Handel (1685 – 1759) was born in Halle, Germany, but moved to England in his mid-20s. He enjoyed tremendous success in London as a composer of Italian-style opera seria, writing some 40 works in the genre. By the 1730s, however, he began to move away from Italian-sung opera to focus on English oratorio. In Handel’s time and place, oratorio meant a musical entertainment based on a Biblical subject; it was sung in English and performed as a concert, i.e. without scenery, costumes or stage action, and featured the chorus more prominently than Italian opera did. Hercules (1745) is something of an oratorio-opera hybrid. Drawn from ancient mythology rather than a sacred text, it’s formally outside an oratorio’s parameters. Handel himself labelled it a “musical drama” and commentators have wrestled with the work’s genre classification ever since, calling it “secular oratorio,” “choral opera,” “mythological oratorio,” and even “classical drama.” The libretto was written by Thomas Broughton, an English clergyman, who in addition to relying on Sophocles’ stage play also spliced in material from Ovid’s Metamorphoses, and almost certainly Seneca’s Latin tragedy Hercules Oetaeus. Today, director Peter Sellars has compressed the libretto to bring its structure closer to the Greek play that inspired it, “putting Handel,” as Sellars says, “in direct collaboration with Sophocles.” Hercules was a failure at its premiere in 1745. The reasons for its cool reception are not entirely clear. Some historians posit a rivalry among London theatres – Handel might have upset some aristocratic impresarios a year earlier by refusing to write a pair of new operas for their establishment – which rippled out to affect sales for his latest work. Others have suggested that Hercules suffered because it was presented in a form (oratorio) unsuitable to its true, or more natural, genre (opera). It was not until the 20th century – in conjunction with a broader rediscovery of Handel’s work – that Hercules came to be recognized as one of the composer’s greatest achievements. Visit coc.ca/COCRadio to access listening guides for all our productions. 8

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FALSTAFF VERDI This new COC production, directed by Robert Carsen, has already delighted audiences in New York, Milan and London, and transports us to England, circa 1950. World-famous Canadian baritone Gerald Finley makes his role debut as Falstaff, and serves up the always-welcome lesson of being able to laugh at ourselves. “I’m thrilled to sing Sir John Falstaff for the first time, here at the COC. He’s a character I’ve wanted to play my whole life. We all know people who are like Falstaff and we love their company. We love the fact that they push their lives to situations where we can laugh at them and feel sorry for them at the same time, and just enjoy their sheer life energy. And I’m hoping that’s what we’ll bring to this particular Falstaff too.” Generously underwritten in part by

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Canadian Opera Company

DEVEREUX DREAM TEAM

BY GIANMARCO SEGATO

el canto (literally, “beautiful singing”) is an elusive term. It is most often used as a convenient, catch-all phrase referring to the early 19th-century period in Italian opera dominated by Rossini, Bellini and Donizetti. But it also denotes a singing style, the hallmarks of which are beauty of tone, wide range, extreme flexibility and expressive utterance of text. For this spring’s Roberto Devereux, the COC has assembled an ace team of highly trained vocal athletes who are ready to meet bel canto’s extreme demands in Donizetti’s great historical drama about the last days of England’s “Virgin Queen,” Elizabeth I (Elisabetta). In that pivotal role, superstar soprano Sondra Radvanovsky makes her hotly anticipated return to the COC after bringing down the house as Aida in 2010. While her career has mainly been centred on core, late-Romantic Italian roles such as Leonora in Verdi’s Il trovatore, Radvanovsky’s exploration of earlier 19th-century bel canto heroines like Anna Bolena and Maria Stuarda (who together with Elisabetta make up Donizetti’s “Tudor Trilogy”) is much more recent. The soprano’s account of the path that led her to bel canto is fascinating and frankly revealing. In 2002, a polyp (caused by a botched childhood intubation) was removed from her vocal chords. “I had to learn how to sing all over again. It opened up a whole new world for me, a world 12

Canadian Opera Company 2013/2014 Season

A STELLAR CAST BRINGS ELIZABETHAN COURT TO LIFE

A scene from Roberto Devereux (Dallas Opera, 2009). All production photos: Karen Almond

I never thought or imagined musically I would be singing in.” Radvanovksy credits her voice coach Tony Manoli with steering her in this new direction. Despite her many Sondra Radvanovsky accomplishments as a Verdi singer, he was convinced she had the potential to be even greater in the bel canto repertoire. Together, they re-worked her technique post-surgery and in the process, she feels she became “a better singer. It was a godsend. No one else heard it; [Manoli] was the only one.” The ultimate affirmation of this vocal transformation was her recent fall 2013 Metropolitan Opera Norma (the summit of all bel canto roles) – “it was a huge success… HUGE!” Radvanovsky notes that elsewhere in his Tudor Trilogy “Donizetti chose to highlight earlier stages of the Queens’ lives whereas Elisabetta is at the end and she’s worn down; she’s a broken woman. She was a very strong Queen, as we know, but here she’s angry a lot and it shows in the vocal writing Donizetti gave her. If you look at the length of the role, Elisabetta is the shortest, especially compared to Anna Bolena which is a marathon. In fact, Elisabetta doesn’t appear

DEVEREUX DREAM TEAM: A Stellar Cast Brings Elizabethan Court to Life

in quite a bit of the opera but she has the opera to save him and do the right thing key moments and by far the hardest music. no matter what the consequences are for In terms of vocal range, hers is the widest her. This is beautifully laid out in Donizetti’s with a great amount of dramatic coloratura music: moments of torture, love, tenderness that is just unrelenting.” and desperation.” McHardy concurs with Roberto Devereux’s title role will be sung the generally held opinion that Roberto by debuting Italian tenor Giuseppe Filianoti. Devereux’s success is largely due to A regular at Europe’s leading Salvatore Cammarano’s superior opera houses, North American libretto with its strong command audiences will know him best of text and clear storyline. for his riveting portrayal of the “The characters are so real and Emperor Tito in the recent so complete. Their interactions Metropolitan Opera HD are intense, complex and so transmission of Mozart’s wonderfully nuanced. It takes La clemenza di Tito. “From English history and sets it on Giuseppe Filianoti the start, Roberto knows there fire!” is no escaping the jealousy of The fourth player in the the 63-year-old queen, wounded drama is Sara’s husband, the in her pride and in her love,” Duke of Nottingham. In says Filianoti. “[He] represents general, bel canto opera does the typical romantic hero: young, not bestow the same gifts attractive, ambitious, valorous and on baritones that it does on merciful in war but, unfortunately, sopranos and tenors, however, Allyson McHardy in love with the wrong woman. Nottingham is an exception to He hopes until the end to be able this rule, blessed as he is with to save himself from an unjust one of the opera’s great melodies, death sentence and to redeem “Forse in quel cor sensibile” the honour of his beloved Sara. (“Perhaps in that sensitive heart”). Although his execution inevitably This isn’t lost on Canadian star takes place, we at least get to baritone Russell Braun: “His hear his final appeal in one of the music is wonderful and the Russell Braun most beautiful arias Donizetti character is very mature actually. wrote for the tenor voice, “Come He’s very ordinary at the uno spirito angelico” (“Like an angelic spirit”). beginning but what happens to him as the The third member of this tragic love result of jealousy, and through the sense triangle is Sara, Duchess of Nottingham sung of a loss of power is what makes the drama. by COC favourite, Canadian mezzo-soprano Because he’s so human at the beginning Allyson McHardy. “Sara is an opera singer’s I feel his transformation is believable and dream,” enthuses McHardy. “She lives a really shows what actually can happen tortured life married to someone she doesn’t to each and every one of us in this really love [the Duke of Nottingham]. She situation.” n feels a certain allegiance to Elizabeth and therefore, must hide her feelings for Gianmarco Segato is Adult Programs Manager at the Canadian Opera Company. Devereux. She fights through the entire FOR FURTHER INSIGHT INTO THE COC’S PRODUCTION OF ROBERTO DEVEREUX, PLEASE READ THE FULL INTERVIEW WITH SONDRA RADVANOVSKY IN THE SPRING ISSUE OF PRELUDE, AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

Canadian Opera Company 2013/2014 Season

Hasmik Papian (centre) as Elisabetta and Andrew Oakden (upper right) as Sir Gualtiero Raleigh in Roberto Devereux (Dallas Opera, 2009). Photo: Karen Almond

ROBERTO DEVEREUX OPERA BACKGROUND Anna Bolena (1830), Maria Stuarda (1835) and Roberto Devereux (1837) are known as Donizetti’s “Tudor Trilogy.” All three stories have a strong connection to Queen Elizabeth I, yet she is almost never given the starring role: Elizabeth doesn’t even appear in Anna Bolena (but the story deals with the events surrounding her birth); she is second fiddle to Mary Stuart in Maria Stuarda; and the third opera doesn’t even bear her name in the title. Few have managed to sing all three of Donizetti’s Tudor Queens and survive! Famously, American soprano Beverly Sills managed the feat at New York City Opera during the early 1970s but admitted it shortened her opera career. Sondra Radvanovsky will take on the Sills trifecta when she sings the “Tudor Trilogy” at Metropolitan Opera in 2015/2016. Set designer Benoit Durgardyn found inspiration in one of the most famous Elizabethan play houses, the Globe Theatre – Shakespeare’s home base in London. The Globe design offered a multi-level playing space with its ranks of balconies surrounding an open playing area. Elisabetta primarily appears centre stage while the balconies offer the chorus an ideal vantage point to observe and comment on the action. COC audiences will recognize the set from 2010’s Maria Stuarda but it was also used for Sondra Radvanovsky’s Anna Bolena at Washington National Opera in 2012. The soprano loves “the whole concept of it being in the round, of the Globe Theatre influence and it’s great for projecting the voice, too – I don’t have to work as hard because I have all this wood around me!” Visit coc.ca/COCRadio to access listening guides for all our productions. Catch up with blogs and enjoy COC Radio at coc.ca.

MADAMA BUTTERFLY PUCCINI The COC’s exquisitely beautiful production of Puccini’s heartbreaking masterpiece has achieved classic status as “one of the treasures of the COC’s collection” (Globe and Mail). Sharing the title role this fall with Kelly Kaduce is Patricia Racette, whose Butterfly touched millions in the recent Metropolitan Opera HD transmission. “Someone once said to me early on in my training that you do not choose your signature role, it chooses you. And certainly that is the case with Madama Butterfly. I’ve lost count now as to how many performances of the role I have done but it’s a part I am honoured to have. It’s a phenomenal exercise in stamina, both vocally and physically, and my voice really feels comfortable with that kind of demand and challenge. What I see [in Butterfly] is someone I admire. What I see are qualities that I find unique and interesting and so incredibly feminine, yet so incredibly strong. And I’m fascinated with how that is layered in this character.”

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Main image: Patricia Racette. Photo: Gary Mulcahey, 2013. Inset: Allyson McHardy and Adina Nitescu in Madama Butterfly (COC, 2009). Photo: Michael Cooper

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HERCULES by George Frideric Handel Musical drama in Three Acts. libretto by reverend Thomas Broughton, after Sophocles’ Women of Trachis and Ovid’s Metamorphoses By arrangement with G. Schirmer, InC. publisher and copyright owner first performance: King’s Theatre, london, January 5, 1745 New COC Co-production with Lyric Opera of Chicago COC Premiere April 5, 11, 15, 19, 24, 27, 30, 2014 Sung in english with english SUrTITleSTM

THE CAST (in order of vocal appearance)

Lichas Dejanira Hyllus Iole Hercules Soldier

David Daniels Alice Coote Richard Croft Lucy Crowe Eric Owens* Kaleb Alexander

Conductor Director Associate Director Set Designer Costume Designer Lighting Designer Chorus Master Stage Manager SURTITLES™ Producer

Harry Bicket Peter Sellars** Matthew Ozawa George Tsypin Dunya Ramicova James F. Ingalls Sandra Horst†*** Stephanie Marrs Gunta Dreifelds

Performance time is approximately three hours and 15 minutes, including one intermission.

Hercules has been generously underwritten in part by Anne and Tony Arrell, and Donald E. O’Born **Peter Sellars is generously sponsored by Judy and Wilmot Matthews *Eric Owens’ performance is generously sponsored by Kristine Vikmanis ***Sandra Horst and the COC Chorus have been generously underwritten by Tim and Frances Price

† Graduate of the COC ensemble Studio

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

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DIRECTOR’S NOTES

ercules is the story of the world’s strongest man, invincible on any battlefield in the world, who dies a violent death in his own home at the hands of his wife. Home is where his vulnerability, woundedness, and sense of loss cannot be mastered by willpower or force. The music drama is based on Sophocles’ play, Women of Trachis, written over 2,500 years ago. Sophocles is the only great playwright who was himself a military general; he was keenly aware of the fine line between military honour and dishonour and understood personally the sacrifice that war involved for soldiers, for their families, and for their communities. The fact that he named his play for the women who stayed behind, rather than the men who went to war, underscores his attention to the trauma experienced by military families. In ancient Athens, the theatre for which Sophocles wrote was a place that gathered every citizen who could vote in the fragile democracy, to discuss the most difficult questions faced by the state in human terms with moral and psychological insight illuminated through poetry, music, and dance. George Frideric Handel and the group of progressive Enlightenment writers and philosophers who he associated with consciously chose the model of ancient Greek theatre in their forward-looking experiments which gave rise to the oratorio in England. There was no such thing as democracy in 18th-century England, but Handel’s generation planted the seeds that would first sprout and bloom in the New World of the western hemisphere a generation later. The oratorio was conceived

Canadian Opera Company 2013/2014 Season

as the art form which could demonstrate the possibilities of enlightened public speech in a future democracy. If everyone could speak, it was important that people learn to speak their deepest thoughts and feelings without falsifying them. It would also be essential to sustain any democracy that people learn to speak from their best selves, activating the consciousnesses and best selves of their fellow citizens in the process. Aristotle had made it clear in his Rhetoric that there will only be as much justice as your eloquence can create and awaken in the hearts of your fellow countrymen. The emphasis in Handel’s oratorios is on eloquence, sympathy, and people’s best selves which hopefully emerge during the worst times. The topic of Hercules had very personal dimensions for Handel who suffered from acute mental distress across his lifetime and who had several mental breakdowns. His music speaks to minds and hearts in anguish, the conscious effort and yearning for peace, the attempt to maintain one’s equilibrium and not to go down a dangerous path towards rage and very real madness. Handel’s compositional structures speak to the specific afflictions of trauma survivors – the recurring flashes of images and words that return involuntarily over and over again, the obsessive replaying of experiences and words which won’t leave the sufferer alone and the traumatic intensity of certain words which explode in the mind. In Handel’s 12-minute da capo arias, a single sentence is put through 25 permutations for the first five minutes with individual words (like “battle” in Hercules’ first aria) having between 25 and 50 notes:

the word itself is a crisis, a meltdown, a stuttering impossibility even to speak – pushed to vocal extremes which demand the highest level of virtuosity from the performer while revealing the unfathomable damage of the character. Then there is a contrasting subject which presents an opposing idea as if to say, “I’m fine and I’ll put the previous subject behind me.” And then the previous subject returns repeating all over again with even wilder ornaments and tests of vocal and emotional endurance. We are not just fine. Handel’s purpose in his musical structure is to depict the causes, the symptoms, and the effects of trauma, doubt, and hope against hope, but his deepest yearning is for healing and he dedicates his music to the process of recovery, to the restoring of equilibrium, to the establishment of a zone of sympathy and understanding. Handel was the most famous musician of his age, at home in the power circles in the heart of what was then the world’s greatest power. He dedicated the profits from his works not to the mighty but to the most fragile and struggling elements of society – the receipts from his Messiah went to support prison reform. He assisted in the founding of England’s first mental hospitals and supported the Foundling Hospital, a refuge for abandoned street children which continues in London to this day, thanks to Handel. But more than his financial support, it is the music that speaks, across the centuries, of his deep wish to provide a place of recognition, refuge, and recovery to fellow sufferers. Peter Sellars

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SYNOPSIS PART I Dejanira waits for news of her husband Hercules, the world’s strongest man, who has been away at war for 18 months. His bloody labours have included 12 impossibly punishing tasks and a conflagration in the state of Oechalia. In the absence of news, her fears for him, her resentments, her helplessness to help, and the anxiety of separation itself, she finds herself unexpectedly weeping at strange times of day and not knowing how to stop. Lichas, Hercules’ herald and a close family friend, visits to console this inconsolable woman (“…disconsolate his absence she laments…”). He prays with her for Hercules’ safety and safe return (“Preserve, great Jove, the hero’s life”). She has been sitting for days alone in a room with the blinds drawn, lamenting the light that is missing from her life (“The world when day’s career is run”). Her son Hyllus has asked priests to perform a divination ceremony at the temple. He returns with a shocking prophetic image – a vision of his father’s corpse surrounded by flames (“I feel, I feel the god”). Dejanira reaches for tranquilizers to find some calm and serenity. She imagines her own death and a meeting with her husband in the world beyond (“There in myrtle shades”). Hyllus is determined to go to the ends of the earth to find his father – from the polar caps to the Middle East (“Where congealed the northern streams”). He is frightened and does not know where to start. A divinely inspired chorus of neighbours and friends gives him courage and hope (“O filial piety! O gen’rous love!”). Lichas brings official confirmation that Hercules is alive: he has sacked and leveled Oechalia to the ground and is on his way 4

Canadian Opera Company 2013/2014 Season

home. Dejanira begins the process of telling herself that she can let go of her fears and anxieties (“Begone my fears”). The first planeload of returning troops arrives with disturbing cargo – among the prisoners of war, the princess Iole, who saw her father killed before her eyes and her countrymen massacred at the hands of Hercules. Her appearance in chains shocks the spectators and moves Hyllus, who instinctively wants to help her. Stunned and disoriented in a new and hostile land, she prays with all her strength and every fibre of her being to the goddess of liberty (“Daughter of gods, bright liberty!”), affirming a world order based on hope and pleasure, plenitude and grace. A somewhat perfunctory triumphal march heralds Hercules’ return. He is exhausted, but retirement is also a challenging prospect; at least on the battlefield abroad he knew his job and his place. Facing his family and himself will be the most difficult battle of his life. He has brought Iole home as a war trophy, but also as a love interest on the side. He is marked as a man who has difficulty giving, receiving, and accepting love. Iole experiences recurring traumatic flashbacks of her father’s grisly death (“My father”). Hercules doesn’t want to talk about the war, or the bloody things he has seen and done, but it is also hard for him to imagine what is next (“The god of battle quits the bloody field”). At a party with neighbours and friends, Hercules feels strangely out of place in his own home, and his wife still can’t figure out how to respond to him (“Crown with festal pomp the day”). Iole’s memories of a quiet peaceful life in the mountains of her ravaged country

stir, haunt, mystify, and touch her new neighbours (“How blessed the maid”). She rejects Hercules’ fumbling advances, but Dejanira has seen enough. The arrival of a new young woman in their household is an affront. Of course, everyone’s heart goes out to the war victim, particularly if she’s pretty, Dejanira snaps (“When beauty sorrow’s livery wears”). Iole, beginning to grasp the unhappiness of the world she has entered, pleads with Dejanira not to give in to jealousy which will exchange all her peace and love for endless pain (“Ah, think what ills the jealous prove”). Lichas, on very shaky diplomatic ground, still trying to protect his boss but somehow acknowledge that there are real problems, tries to reconcile husband and wife, but neither of them is ready. They will need time to heal and find each other again (“As stars that rise and disappear”). The chorus calls out jealousy for what it is: the tyrant that burns in every human breast, kindled with every trivial glance and gesture, dividing us, gradually turning us into monsters that we no longer recognize (“Jealousy”). INTERMISSION PART II The gods themselves descend to earth to taste the deeper joys of love among humans (“From celestial seats descending”). Hyllus offers Iole the safety and refuge of his enfolding love, reaching beyond his own childhood of blame, growing up in his father’s shadow with an abiding sense of unworthiness for love or greatness. He finds his own homeland in the exiled mind and heart of a courageous refugee. Wishes, sighs, and soft desires ripple Please visit coc.ca for additional information

through the night (Chorus: “Wanton god of am’rous fires”). During a late night of alcohol and wild emotion, Dejanira congratulates her husband on his new honours and promotions. She observes that he has become an abject slave to his passions and unfulfilled emotional hunger. He shouts back at her that he deserves some applause and headlines (“Alcides’ name in latest story shall with brightest lustre shine”), referring to himself by his birth name, Alcides. But all the parades and hero’s welcomes leave him with a bitter aftertaste, an emptiness, and overwhelming, unresolved anger. The idea of a new generation emulating his career and exploits first fills him with pride and then sickens him. Dejanira, her feelings also ricocheting around the room, mocks him, humiliates him and emasculates him. She calls him a whining boy. Dangerous, brittle violence hangs in the air. She tells him to put away his weapons and learn to help around the house (“Resign thy club”). She only succeeds in driving the man she loves further away from her bruised and hurt body and heart. After lying to her point blank about his marital infidelities, Hercules shuts down and retreats behind a wall of silence. He lets his wife know that she has a problem and that she needs to fix it. He leaves for another award ceremony. Dejanira, at her lowest moment, pleads for the sun to no longer rise in the sky, leaving herself and her husband silent and dead in an endless night (“Cease ruler of the day to rise”). She prays to a kinder power to inspire her. She wants to recover. She wants to regain Hercules’ alienated love. A radical idea comes to mind. Years before, a centaur, Nessus, had tried to rape her. Hercules 5

rescued her, shooting Nessus with a poisoned arrow. As he died, his grip on her skin loosening, Nessus whispered to her that his blood would transform into a magic potion capable of reviving “the expiring flame of love.” She kept and hid his liquid in an urn and now she will use it to draw Hercules back to her. She buys Hercules a beautiful jacket, and rubs the love ointment into the lining. She gives the treated coat to Lichas, and asks him to take it to her husband as a reconciliation gift. She wants Hercules to wear it with honour during his ceremony. No sooner does Lichas disappear with the magic garment than Dejanira turns to see the wool rag on the floor, the rag that she used to rub in the potion, begin to smoke, sputter, dissolve and burn. Lichas recounts the horrifying experience of offering the coat to a pleased and proud Hercules and watching him put it on, then writhe and scream in agony as poison seeped into his joints and the hero’s burning, mangled flesh fused with the coat’s malignant fibres. Lichas tries to pull himself together for his funeral oration at the memorial services, to say farewell to a brave but very unhappy man (“Oh, scene of unexampled woe”). The chorus acknowledges the end of an era: “Tyrants now no more shall dread on necks of vanquished slaves to tread. All fear of punishment is gone.” We are helpless in front of ever new forms and new faces of tyranny. “The world’s avenger is no more.” We watch Hercules, twisted in unbearable pain, burn in the unrelenting flame of his own rage. He calls for help and no one answers. He rages on, furious and alone. His body and mind pushed beyond the last limits of pain and endurance, Hercules curses his wife and orders his son to bear

Canadian Opera Company 2013/2014 Season

his body to a mountaintop to be received by the gods. Now it is Hyllus’ turn to see the fulfillment of his prophetic vision – his father’s final flaming agony. With no space for grief, he has a panic attack. He turns on Iole, who is Oechalian, as a possible spy – news of Hercules’ death must be hushed up and hidden from a hostile world. Hyllus can trust no one now, overwhelmed with his father’s legacy and beginning to run in Hercules’ shoes. Dejanira is drowning in guilt and unassuagable grief – Hercules was killed by her hand. Her last gesture of love was Nessus’ final act of revenge. She will be haunted for the rest of her life by relentless demons, steeped in remorse and self-blame (“Where shall I fly”). She watches as the phantoms of her own mind lead her to a place of horrible isolation, entrapment, and finally, suicide. Iole intervenes. With her aria (“My breast with tender pity swells”), Handel offers a compassion that reaches beyond Greek tragedy and moves us into an Enlightenment world of understanding and recovery, the recognition of suffering as a path towards healing and gradual transformation. The community emerges from shock with the resolve to honour, praise, and offer gratitude to the men and women who have sacrificed lives, hearts, and limbs, and the families who have supported them, with their own wounds and resilience (“To them your grateful notes of praise belong”). The song of liberty welcomes all strangers: the wedding of Iole and Hyllus suggests the birth of a wiser America and a different Middle East. Peter Sellars

MUSIC STAFF

Stephen B. Hargreaves (Head Coach) Timothy Cheung ASSISTANT CONDUCTOR

Stephen B. Hargreaves ASSISTANT DIRECTOR

Joel Ivany ASSISTANT STAGE MANAGERS

Joanna Barrotta Kate Porter ASSISTANT LIGHTING DESIGNERS

Wendy Greenwood (Lighting Co-ordinator) Andrea Nelson Davida Tkach UNDERSTUDIES

Lichas Dejanira Hyllus Iole Hercules

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Ryan Belongie Emily Fons Owen McCausland Sasha Djihanian Kenneth Kellogg

ARTISTS’ BIOGRAPHIES ALICE COOTE Dejanira

British mezzo-soprano Alice Coote last appeared at the COC as the Composer in Ariadne auf Naxos. Other roles include Poppea, Carmen, Charlotte, Orlando, Lucretia, Marguerite, Penelope, Octavian, Orfeo, Idamante, Nerone, Hansel, Sesto (Giulio Cesare and La clemenza di Tito), Ruggiero and Ariodante. She has performed with Royal Opera House, Covent Garden; English National Opera; Opéra national de Paris; Dutch National Opera; Bayerische Staatsoper; Lyric Opera of Chicago; and the Metropolitan Opera (Met) as well as the opera companies of Seattle, Los Angeles and San Francisco, and Glyndebourne and Salzburg festivals. Highlights of the 2013/2014 season include Anne Strawson in the premiere production of Nico Muhly’s Two Boys and Octavian in Der Rosenkavalier (Met); Le Prince Charmant in Cendrillon (Gran Teatre del Liceu); and Octavian (Bayerische Staatsoper). RICHARD CROFT Hyllus

American tenor Richard Croft last appeared at the COC as Ferrando in Così fan tutte and Almaviva in The Barber of Seville. Internationally renowned for his performances with leading opera companies and orchestras around the world, he has performed at the Metropolitan Opera (Met), Wiener Staatsoper, Opéra national de Paris, Berlin Staatsoper, Teatro alla Scala, Lyric Opera of Chicago and San Francisco Opera as well as at the Salzburg Festival, Festival d’Aix-en-Provence, Santa Fe Opera, and Glyndebourne Festival. He has performed with the Berlin Philharmonic, 8

Canadian Opera Company 2013/2014 Season

Cleveland Orchestra, Boston Symphony Orchestra, and New York Philharmonic. This season’s engagements include the title role of Idomeneo (Theater an der Wien) and Captain Vere in Billy Budd (Los Angeles Opera). Other recent operatic highlights include Idomeneo (Théâtre des ChampsÉlysées); Tito in La clemenza di Tito (Wiener Staatsoper); and a reprise of his performance as Gandhi in Philip Glass’s Satyagraha (Met). LUCY CROWE Iole

British soprano Lucy Crowe is making her COC debut. Her operatic roles include Servilia in La clemenza di Tito (Metropolitan Opera/Met); Susanna in Le nozze di Figaro, Gilda in Rigoletto and Belinda in Dido and Aeneas (Royal Opera House, Covent Garden/ROH); Sophie in Der Rosenkavalier (Deutsche Oper, Bayerische Staatsoper and ROH); Gilda (Deutsche Oper); Rosina in The Barber of Seville, the title role in Agrippina and Drusilla in The Coronation of Poppea (English National Opera/ENO); and the title role in The Cunning Little Vixen (Glyndebourne Festival). Ms. Crowe has performed with the Australian Chamber Orchestra, Philadelphia Orchestra, Boston Symphony Orchestra, Orchestra of the Age of Enlightenment, and the Scottish Chamber Orchestra, among others. Future operatic engagements include Adina in L’elisir d’amore (ROH) and returns to ENO, Glyndebourne and the Met. Ms. Crowe makes her recital debut at Carnegie Hall this season.

ArTISTS’ BIOGrAPhIeS

DAVID DANIELS Lichas

American countertenor David Daniels last appeared at the COC as Arsamene in Xerxes. Recent highlights include Prospero in The Enchanted Island (Metropolitan Opera/Met); Ottone in Agrippina (Gran Teatre del Liceu); Didymus in Theodora (The English Concert and Glyndebourne Festival); the title role in Giulio Cesare (Met, Michigan Opera Theatre, Lyric Opera of Chicago/LOC and Glyndebourne); the world premiere of Theodore Morrison’s Oscar, the title role in Radamisto and Roberto in Griselda (Santa Fe Opera); the title role in Rinaldo (LOC); Arsamenes in Xerxes and Bertarido in Rodelinda (San Francisco Opera); Orfeo in Orfeo ed Euridice (Met; LOC; Royal Opera House, Covent Garden); the title role in Orlando (Bayerische Staatsoper); and Oberon in A Midsummer Night’s Dream (Met, Teatro alla Scala and Gran Teatre del Liceu), among others. He appears in concert with the major orchestras of the world and has won admiration for his recital performances. ERIC OWENS Hercules

American bass-baritone Eric Owens is making his COC debut. Equally at home in orchestral, recital and opera performances, he brings his powerful poise, expansive voice and instinctive acting faculties to stages around the world. Recent and upcoming appearances include Bach’s St. Matthew Passion (Berlin Philharmonic); Sarastro in The Magic Flute (Metropolitan Opera and Opéra de Bastille); Vodnik in Rusalka (Lyric Opera of Chicago); Please visit coc.ca for additional information

Alberich in the Ring Cycle (Deutsche Oper Berlin and Wiener Staatsoper); the title role in the world premiere of Elliot Goldenthal’s Grendel (Los Angeles Opera and Lincoln Center Festival); and General Leslie Groces in the world premiere of Doctor Atomic (San Francisco Opera/SFO). Other career highlights include Lodovico in Otello (SFO); Oroveso in Norma (Royal Opera House, Covent Garden); Ramfis in Aida (Houston Grand Opera); and Collatinus in The Rape of Lucretia (Glimmerglass Opera), among others.

HARRY BICKET Conductor

British conductor Harry Bicket’s previous COC credits include Orfeo ed Euridice, Idomeneo and Rodelinda. Noted for his interpretation of baroque and classical repertoire, he is artistic director of The English Concert, and was recently appointed chief conductor of Santa Fe Opera. Recent and upcoming engagements include Agrippina and Lucio Silla (Gran Teatre del Liceu); an extensive tour with The English Concert of Handel’s Theodora (Barbican and Carnegie Halls, Théâtre des ChampsElysées); programs with Sally Matthews, Alice Coote and Lucy Crowe at Wigmore Hall; Fidelio, Platée and Radamisto (Santa Fe Opera); Rodelinda, La clemenza di Tito and Giulio Cesare (Metropolitan Opera); Rinaldo (Lyric Opera of Chicago); Alcina (Opéra National de Bordeaux); and Iphigenie en Tauride and Mitridate (Theater an der Wien). Other appearances include conducting the Los Angeles Philharmonic, Orchestra of St Luke’s, Chicago Symphony Orchestra, Rotterdam Philharmonic, Oslo Philharmonic and Hong Kong Philharmonic, among others. 9

ArTISTS’ BIOGrAPhIeS

PETER SELLARS Director

American opera, theatre, and festival director Peter Sellars last directed at the COC for Tristan und Isolde. He has staged productions at the Glyndebourne Festival, Lyric Opera of Chicago, Dutch National Opera, Opéra national de Paris, Salzburg Festival, Santa Fe Opera, San Francisco Opera, and Teatro Real Madrid, among others. Inspired by the compositions of Kaija Saariaho, Osvaldo Golijov and Tan Dun, he has guided the creation of productions of their work, expanding the repertoire of modern opera. Collaborations with composer John Adams include Nixon in China, The Death of Klinghoffer, El Niño, Doctor Atomic, and A Flowering Tree. Their latest work, The Gospel According to the Other Mary, was seen in the U.S. and Europe early in 2013. Other recent projects include Iolanta and Persephone (Teatro Real Madrid); Michelangelo Sonnets (Manchester International Festival); The Indian Queen (Perm Opera and Ballet Theatre and Teatro Real); and an acclaimed concert staging of Bach’s St John Passion (Berlin Philharmonic). MATTHEW OZAWA Associate Director

American stage director and choreographer Matthew Ozawa is making his COC debut. He has worked for Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Oregon Shakespeare Festival, and Macau International Festival, among others. He is the founder and artistic director of Mozawa, which creates multi-cultural interdisciplinary works of art through the intermingling of theatre, opera, musical theatre, dance, film, design, writing 10

Canadian Opera Company 2013/2014 Season

and visual art. His productions include A Little Night Music and The Memory Stone (Houston Grand Opera); Il barbiere di Siviglia (Lyric Opera of Chicago); La Bohème (Opera North); Falstaff (Opera in the Heights); The Winter's Tale (The State Theater); Radio Ghosts (New Leaf Theater); and A Son at the Front (Athenaeum Theater), among others. GEORGE TSYPIN Set Designer

American set designer George Tsypin's previous COC credits include Rigoletto and Luisa Miller. His designs for opera have been produced all over the world, including at the Salzburg Festival; Opéra de Bastille; Royal Opera House, Covent Garden; Teatro alla Scala; Mariinsky Theatre; Bolshoi Theatre; and Metropolitan Opera. Tsypin was chosen to exhibit his work at the Venice Biennale in 2002. His monograph, George Tsypin Opera Factory: Building in the Black Void, was published by Princeton Architectural Press in 2005 (Golden Pen Award). Tsypin's Broadway credits as a set designer for a musical include Disney Theatrical’s production of The Little Mermaid. He designed the set for the new musical Spider-Man: Turn Off the Dark (Tony Award nomination, Outer Critics Circle Award). Mr. Tsypin designed, co-scripted and co-directed the Opening Ceremony of the Winter Olympics in Sochi. DUNYA RAMICOVA Costume Designer

American costume designer Dunya Ramicova last worked at the COC on La clemenza di Tito (1991). She has designed costumes for over 150 productions of theatre, opera, television, and film in the U.S. and

ArTISTS’ BIOGrAPhIeS

around the world. She is a long-time collaborator of director Peter Sellars. Their work together includes the world premieres of operas composed by John Adams including Nixon in China, The Death of Klinghoffer and Doctor Atomic. Among their other collaborations are a Mozart/Da Ponte cycle, Theodora, Saint François, The Magic Flute, The Persians, Tannhäuser, Ajax, and The Merchant of Venice, among others. Her previous work at Los Angeles Philharmonic includes El Niño and Oedipus Rex and Symphony of Psalms. Dunya Ramicova is a founding faculty member of the new University of California campus in Merced. JAMES F. INGALLS Lighting Designer

American lighting designer James F. Ingalls returns to COC where he designed last season’s Tristan und Isolde, and previous seasons’ The Magic Flute and Rigoletto. Other work in Toronto includes Onegin for The National Ballet of Canada and The House of Martin Guerre for Canadian Stage Company. His collaborations with Peter Sellars span more than 30 years and include the world premieres of John Adams’ Nixon in China, The Death of Klinghoffer, El Niño and The Gospel According to the Other Mary; Kaija Saariaho’s Adriana Mater, The Passion of Simone and L’amour de loin; and Osvaldo Golijov’s Ainadamar. Recent projects include Marathon Cadenzas (Paul Taylor Dance Company), The Seagull (Huntington Theatre Company in Boston) and The Sign in Sidney Brustein’s Window (Oregon Shakespeare Festival). Mr. Ingalls often collaborates with Melanie Rios Glaser and The Wooden Floor dancers in Santa Ana, California.

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SANDRA HORST Chorus Master

Sandra Horst’s most recent COC credits include A Masked Ball, Così fan tutte, La Bohème and Peter Grimes. Also at the COC she conducted Rossini’s Il viaggio a Reims. As director of musical studies at the University of Toronto’s Opera Division, she recently conducted Donizetti’s L’elisir d'amore. Ms. Horst has served as chorus master for Opera Theatre of St. Louis and Edmonton Opera; a judge for the Metropolitan Opera National Council auditions; and music staff of the Juilliard Opera Center, Chautauqua Institution, Boston Lyric Opera, and Banff Centre for the Arts. She was one of the 100 Alumni of Achievement honoured by Wilfrid Laurier University. This spring Ms. Horst is also chorus master for Roberto Devereux and Don Quichotte. STEPHEN B. HARGREAVES Assistant Conductor

Stephen B. Hargreaves divides his professional work between conducting and solo performance. He was assistant conductor at the COC for Lucia di Lammermoor, Semele and Iphigenia in Tauris as well as the harpsichordist for La clemenza di Tito. Recent engagements include conducting Ricky Ian Gordon's Orpheus and Euridice (Chicago Opera Theater), The Turn of the Screw (University of Toronto), and performing Brahms’ Piano Concerto No. 2 (Grand Forks Symphony Orchestra). Other credits include conducting Le nozze di Figaro (Opera Omaha); performing Rachmaninoff’s Piano Concerto No. 3 (Marion Philharmonic); and playing the world premiere of Gordon Parmentier’s Piano Concerto No. 3 (Green Bay Symphony). 11

ArTISTS’ BIOGrAPhIeS

Mr. Hargreaves has conducted for Lyriqueen-Mer/Festival de Belle-Île, Glimmerglass Festival, Pine Mountain Music Festival and Lyric Opera of Kansas City. JOEL IVANY Assistant Director

Canadian stage director Joel Ivany’s previous COC credits include assistant director for Dialogues des Carmélites, Iphigenia in Tauris, Orfeo ed Euridice and La Bohème. He is the founder and artistic director of Against the Grain Theatre (AtG) and was a recent finalist and winner in the European Opera-Directing Prize for his concept of Bellini’s I Capuleti e i Montecchi. Mr. Ivany recently directed new productions of Macbeth with Minnesota Opera, Albert Herring for the University of Toronto and Les contes d’Hoffmann with Edmonton Opera. Upcoming projects include directing Pelléas et Mélisande for AtG; the world premiere of East o’ the Sun and West o’ the Moon for the Canadian Children's Opera Company; Uncle John, a modern interpretation of Don Giovanni, at the Banff Centre; and Carmen for Vancouver Opera.

STEPHANIE MARRS Stage Manager

Stephanie Marrs has been with the COC since 1991. Her numerous COC stage managing credits include Dialogues des Carmélites, Il Trovatore, Les contes d’Hoffmann, Iphigenia in Tauris, Death in Venice, The Magic Flute, Orfeo ed Euridice, Idomeneo, Simon Boccanegra, Rusalka, Don Giovanni, Pelléas et Mélisande, Elektra, Siegfried (complete Ring Cycle), Norma, Rodelinda, Tancredi, Lucia di Lammermoor, Rigoletto, Tosca and Madama Butterfly. She has stage managed for Nightwood Theatre, Crow’s Theatre, Opera York, Opera Atelier, Canadian Children’s Opera Company and worked with Opéra national de Lyon, Edmonton Opera, Canadian Stage, Luminato Festival, Just for Laughs Toronto Festival, and the C.O.S.I. program in Sulmona, Italy.

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 2013/2014 Season

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

CELLO Bryan epperson, Principal Alastair eng, Associate Principal Paul Widner, Assistant Principal elaine Thompson, Acting Assistant Principal Olga laktionova, on leave of absence Maurizio Baccante, on leave of absence BASS Alan Molitz, Principal robert Speer, Assistant Principal Tom hazlitt Paul langley OBOE Mark rogers, Principal lesley Young BASSOON eric hall, Principal

CONTINUO HARPSICHORD AND PORTATIVE ORGAN Stephen B. hargreaves* CELLO Alastair eng ARCHLUTE Sylvain Bergeron*

LIBRARIAN Wayne Vogan ASSISTANT MUSIC LIBRARIAN Ondrej Golias STAGE LIBRARIAN Paul langley PERSONNEL MANAGER Ian Cowie * extra musician

HORN Joan Watson, Principal, on leave of absence Scott Wevers, Acting Principal* Gary Pattison TRUMPET robert Grim, Principal robert Weymouth TIMPANI Michael Perry, Principal

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CANADIAN OPERA COMPANY CHORUS SOPRANOS Catherine Affleck lindsay Barrett Andrea Cerswell Margaret evans Alexandra lennox-Pomeroy Ingrid Martin eve rachel Mcleod Jennifer robinson Catherine Tait Teresa van der hoeven

MEZZO-SOPRANOS Susan Black Sandra Boyes Wendy hatala foley erica Iris huang lilian Kilianski Kathryn Knapp Anne McWatt Karen Olinyk Marianne Sasso Vilma Indra Vitols

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

BARITONES & BASSES Grant Allert Kenneth Baker James Baldwin Peter Barnes Jeremy Bowes Bruno Cormier Michael downie Jason nedecky Marcus Wilson Michael York

2014 | 2015

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BOARD OF DIRECTORS OFFICERS Mr. Tony Arrell, President Mr. Philip C. deck, Chair Mr. Paul A. Bernards, Treasurer Mr. John h. Macfarlane, Secretary Mr. Alexander neef, General Director (ex officio) Mr. robert lamb, Managing Director (ex officio)

MEMBERS Mr. Mark Appel Ms. nora Aufreiter Mr. robert Brouwer Ms. Marcia lewis Brown Mr. Stewart Burton Mr. Peter M. deeb Mr. George S. dembroski Mr. William fearn (ex officio) Mr. Adam froman Mr. Michael Gibbens Mr. Peter hinman dr. linda hutcheon Ms. Trinity Jackman Mr. Justin linden Mr. Jeff lloyd

Ms. Anne Maggisano Mr. Stephen O. Marshall Ms. Judy Matthews Ms. Trina McQueen Mr. Jonathan Morgan Mr. nick Mutton Ms. frances Price Mr. Arthur r.A. Scace, C.M. Ms. Colleen Sexsmith Mr. Philip S.W. Smith Mr. Paul B. Spafford Ms. Michele Symons Ms. Kristine (Kris) Vikmanis Mr. John h. (Jack) Whiteside HONORARY DIRECTOR Mr. Joey Tanenbaum, C.M.

VOLUNTEER SUPPORT ORGANIZATIONS COC OPERA GUILDS Brantford Opera Guild, David M. Cullen, President Kingston Opera Guild Grace Orzech, President london Opera Guild Ernest H. Redekop, President Muskoka Opera Guild Dr. Hans Heeneman, President northumberland Opera Guild Thais Donald, President Oakville Opera Guild Maureen Rudzik, President Sudbury Opera Guild Mike Humphris, President Western new York Opera Guild Dorothy K. Piepke, President

CANADIAN OPERA FOUNDATION DIRECTORS Mr. William fearn, Chair Mr. Tony Arrell Mr. Jonathan Bloomberg Mr. J. rob Collins Mr. david forster, Treasurer Mr. Gary Grad Mr. Michael Gough Mr. Christopher hoffman Mr. david Spiro, Secretary HONORARY DIRECTORS Mr. George hamilton hon. dennis lane

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

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ADMINISTRATION AND STAFF AleXAnder neef, General director Robert Lamb Managing Director

Ondrej Golias Assistant Librarian

Johannes Debus Music Director

COC Ensemble Studio Gordon Bintner Charlotte Burrage Sasha Djihanian Aviva Fortunata Clarence Frazer Andrew Haji Danielle MacMillan Owen McCausland Cameron McPhail Claire de Sévigné Michael Shannon

EXECUTIVE OFFICE Executive Assistant to the General Director Sky Fairchild-Waller Marguerite Schabas (on leave) ARTISTIC ADMINISTRATION

Amy Cummings Scene Shop Co-ordinator David Retzleff Head Scene Shop Carpenter

Sharon Ryman Wig & Make-up Supervisor Cori Ferguson Head of Wig & Make-up Crew Shawna Green Production Co-ordinator Gunta Dreifelds SURTITLES™ Producer

Andrew Walker Assistant Scene Shop Carpenter

Zane Kaneps SURTITLES™ Editor

Richard Gordon Head Scenic Artist

Olwyn Lewis SURTITLES™ Assistant

Carolina Valenzuela Assistant Head Scenic Artist

Supernumeraries Co-ordinators Analee Stein Elizabeth Walker

Daniela Mazic Scenic Artist

DEVELOPMENT

Peter W. Lamb Director of Production

Scott Williamson Rehearsal Head Technician

Christie Darville Chief Advancement Officer

Lee Milliken Production Manager

Guy Nokes Properties Supervisor

Kaila LeMaitre Development Associate

Chuck Giles Technical Director

Stephanie Tjelios Resident Properties Builder/Co-ordinator

Amy Mushinski Manager, Government Relations

Kathy Frost Resident Properties Buyer/Co-ordinator

Stephen Gilles Director of Development

Tracy Taylor Properties Builder/ Co-ordinator

Peter Hussell Senior Manager, Advancement Operations

Properties Builders Carolyn Choo Wulf

Ali Kashani Associate Director, Institutional Gifts

Sandra Corazza Costume Supervisor

Dawn Marie Schlegel Associate Director, Donor Relations

Roberto Mauro Artistic Administrator

Production Assistants Adriana Dimitri Michelle Galuszka

Olwyn Lewis Company Manager

PROGRAMMING

Karen Olinyk Assistant, Artistic Administration & Music

Core Crew Scott Clarke Terry Hurley Paul Otis Chuck Theil

Nina Dragani´ ´c Director of Programming – Free Concert Series PRODUCTION

MUSIC Sandra Gavinchuk Music Administrator Sandra Horst Chorus Master Wayne Vogan Music Librarian, Coach Elizabeth Upchurch Head of the Ensemble Studio & Coach Derek Bate Resident Conductor

Barney Bayliss Associate Technical Director Wendy Greenwood Lighting Co-ordinator Assistant Technical Directors Melynda Jurgenson Wendy Ryder

Music Staff Rachel Andrist Timothy Cheung Jean Desmarais Jenna Douglas Esther Gonthier Stephen Hargreaves Anne Larlee Ben Malensek Kevin Murphy Steven Philcox Eric Weimer

Bob Shindle Head of Sound

Kathryn Garnett Scheduling Manager

Craig Kadoke Assistant Sound

Gerry Egan Interim Scheduling Manager

Paul Watkinson Head Carpenter

Birthe Joergensen Archivist – Joan Baillie Archives Ian Cowie Orchestra Personnel Manager

Janice Fraser Head Electrician Joel Thoman Assistant Electrician

Mike Gelfand Assistant Carpenter Rupert Baker Head Flyman Alison Potter Head of Properties

Canadian Opera Company 2013/2014 Season

Susan Rome Costume Co-ordinator Costume Assistants Natassia Brunato Christina Del Monte

Sarah Heim Donor Relations Officer

Sue Furlong Resident Tailor

Natalie Sandassie Senior Development Officer, Annual Programs and Patron Engagement

Assisted by Gulay Cokgezen Johanna Edwards Carolyn Kasperski

Paige Phillips Co-ordinator, Annual Programs and Patron Engagement

Nancy Hawkins Head of Wardrobe

Emma Noakes Co-ordinator, Annual Programs and Patron Engagement

Leslie Brown Wardrobe Assistant

Aisha Talarico Senior Development Officer, Friends of the COC

Michelle Hwu Retail Co-ordinator Kristin McKinnon Assistant Publicist

Kevin Sean Pook Co-ordinator, Friends of the COC

EDUCATION AND OUTREACH

Francesco Corsaro Senior Development Officer, Institutional Gifts

Katherine Semcesen Associate Director, Education and Outreach

Adriana Formusa Development Officer, Institutional Gifts Nikita Gourski Development Communications Officer Tracy Briggs Senior Manager, Special Events Laura Aylan-Parker Senior Development Officer, Special Events and Ensemble Circle Victor Widjaja Donation Database Officer Olena Moldovan Donation Database Officer

Gianmarco Segato Adult Programs Manager Vanessa Smith Manager, School Programs Amber Yared Children and Youth Programs Co-ordinator (on leave)

Jeremy Elbourne Director of Marketing Phil Stephens Senior Manager, Sales and Customer Service Gianna Wichelow Senior Manager, Creative and Publications Jennifer Pugsley Media Relations Manager Claire Morley Associate Manager, Editorial Meighan Szigeti Associate Manager, Digital Marketing Danielle D’Ornellas Digital Marketing Co-ordinator Eldon Earle Marketing Co-ordinator

FINANCE AND ADMINISTRATION Lindy Cowan, CPA, CA Director of Finance and Administration Lorraine O’Connor, CHRP Human Resources Manager Amalie Vanderzwet, CPA, CA Finance Manager General Accountants Florence Huang Zoran Orli´ ´c (FSCPA) Vera Brjozovskaia Accounting Clerk

Blanche Israël Interim Children and Youth Programs Co-ordinator

Payroll Accountants Jovana Bojovic Jeanny Won

TICKET SERVICES

Steven Sherwood Manager, IT Services

Alan Moffat Patron Relationship Manager

Brad Staples Database Reporting Specialist

Andrea Salin Associate Manager, Ticket Services

Tony Sandy IT Services Assistant

COMMUNICATIONS Claudine Domingue Director of Public Relations

DeeAnn Sagar Margaret Terry Angela Thompson

Nikki Tremblay Assistant Ticket Services Manager David Nimmo Group Sales Co-ordinator

Katarina Božovi´´c Receptionist/ Switchboard Branka Hrsum Mailroom Clerk/Courier BUILDING SERVICES

Lillian Fung Ticket Services Supervisor Ticket Services Representatives James Baldwin Ellen Casey Ernest Cayemen Holly Coish Anna Kay Eldridge Peter Genoway Maureen Gualtieri Keith Lam Kevin Morris Darcy Stoop CALL CENTRE Richard Paradiso Call Centre Manager Call Centre Representatives Catherine Belyea Wendy Limbertie

Joe Waldherr Associate Director, Facilities Management Christian Coulter Assistant Manager, Operations Jennifer Toulmin Facilities Management Assistant Maintenance Assistants Ryszard Gad (COC) Branislav Peterman (COC) Julian Peters (COC) James Esposito (FSCPA) Mark Healy (FSCPA) Dinh Tran (FSCPA) Piotr Wiench (FSCPA) Security Supervisors Videsh Dookhu Dave Samuels

Security Officers George Balyasin Tammy Hill Natalia Juzyc Usman Khalid Kathleen Minor Heather Reid Craig Thompson Building Operators Dan Bisca Dan Popescu Adrian Tudoran Paula Da Costa Eurest Services Supervisor Eurest Services Team Jennifer Barros Malaku Godana Nash Lim Jimmy Pacheco Sugey Torres FOUR SEASONS CENTRE FOR THE PERFORMING ARTS Alfred Caron Director, Four Seasons Centre for the Performing Arts Elizabeth Jones Associate Director, Business Development Shannon Churm Business & Events Co-ordinator Jefferson Guzman Associate Director, Patron Services Kim Hutchinson-Barber Assistant Manager, Front of House Julia Somerville Assistant Manager, Front of House Brigitte Lang Assistant Manager, Food & Beverage Patron Services Supervisors Kelly Bailey Stuart Constable Enrique Covarrubias Cortes Jamieson Eakin Lori MacDonald Melissa McDonnell Adam Orr Patron Services Leads Carianne Hill Jennifer Toulmin

FSCPA – Four Seasons Centre for the Performing Arts

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S U P P O RT I N G T O R O N T O â&#x20AC;&#x2122; S G R O W I N G A RT S C O M M U N I T Y T O D AY, A N D F O R E V E R

As Naming Donor of the Four Seasons Centre for the Performing Arts, we are proud to be a lifelong friend of the fine arts experience for the patrons here and from around the world.

ENJOY THE PERFORMANCE

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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. The estate of dr. larry M. Agranove ArIAS: Canadian Opera Student development fund The Gerard & earlaine Collins foundation The late John A. Cook The estate of horst dantz and don Quick Kolter Communities

The Catherine and Maxwell Meighen foundation roger d. Moore e. louise Morgan Tim & frances Price Colleen Sexsmith Joey & Toby Tanenbaum Anonymous (2)

MAJOR GIFTS & SPECIAL PROJECTS The COC offers its sincere thanks to the individuals listed below for their extraordinary support. PRODUCTION UNDERWRITERS Demonstrating their leadership and generosity, these donors have underwritten the COC’s mainstage productions. $500,000 + Jerry & Geraldine heffernan The Catherine and Maxwell Meighen foundation Colleen Sexsmith $100,000 – $499,999 Anne & Tony Arrell Paul Bernards Philip deck & Kimberley Bozak donald e. O’Born david roffey & Karen Walsh $50,000 – $99,999 The Asper foundation

PERFORMANCE AND ARTIST SPONSORS The following donors extend their generous support to individual artists and performances. $100,000 + Jack Whiteside

$25,000 – $49,999 earlaine Collins Patrick & Barbara Keenan J. hans Kluge françoise Sutton Judy & Wilmot Matthews Anonymous (1) Up to $25,000 robert Sherrin The Stratton Trust Carol Swallow dr. david Stanley-Porter & dr. Colin McGregor Mailer Ms Kristine Vikmanis & Mr. denton Creighton

ENSEMBLE STUDIO SUPPORTERS Encouraging the next generation of artists, these donors support the COC’s Ensemble Studio. $1,000,000 Peter M. deeb $500,000 – $999,999 The Slaight family foundation $25,000 – $499,999 Anne & Tony Arrell ethel harris & the late Milton e. harris roger d. Moore The Stratton Trust

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Up to $25,000 ArIAS: Canadian Opera Student development fund Marcia lewis Brown Margaret harriett Cameron and the late Gary Smith Classical 96.3 fM ninalee Craig Catherine fauquier Patrick hodgson family foundation Peter & hélène hunt Alexandra Jonsson Marjorie & roy linden Jo lander Tom C. logan James nicol & Christine Milne Colleen Sexsmith OCC lasik Brian Wilks Anonymous (1)

GENERAL PROGRAM SUPPORTERS Providing general program support is critical to the COC’s artistic mission. $1,000,000+ Tim & frances Price $100,000+ Anonymous (2) $25,000 – $99,999 William & Phyllis Waters Up to $24,999 Anonymous (3) 19

A scene from the COC's The Nightingale and Other Short Fables, 2009. Photo: Michael Cooper

Make the most of your opera experience! The President’s Council and Golden Circle programs help make possible many of the company’s activities. New productions, the COC Ensemble Studio program, our education and outreach initiatives – these are just a few of the reasons why President’s Council and Golden Circle gifts are so crucial to our future. President’s Council and Golden Circle members share in the excitement of opera in new ways through events and activities, receive personalized service for ticket purchases and exchanges, and enjoy exclusive use of the Henry N. R. Jackman Lounge at all opera performances. For further information, contact us at presidentscouncil@coc.ca or call 416-363-5801.

*The COC recognizes donations from all individual giving programs with a charitable tax receipt for the maximum amount allowable under the Canada Revenue Agency guidelines.

MAJOR GIFTS & SPECIAL PROJECTS ENDOWMENT SUPPORT Making a gift to the Endowment ensures long-term stability for the COC and its artists. $100,000 + hon. henry n. r. Jackman Anonymous (1) $25,000 – $99,999 Michael W. & Wanda Plachta endowment fund Up to $25,000 Anonymous (1)

LEGACY AND BEQUEST GIFTS

MEMORIAL AND HONORARY DONATIONS

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

The COC expresses its sincere appreciation to all donors who have made memorial and honorary donations.

estate of Mary B. Godfrey estate of Judith howard estate of John Gordon hunter estate of ethel Berney Jackson‡ estate of Borge John Kraglund estate of J.M. (doc) Savage‡ estate of Vivian Treacy‡ estate of hugh Victor Wallace

In Memory of Sam Ajzenstap Jean Coulton Mary roxalyn finch freddy Kremer lotfi Mansouri Aleksandar Petričic Magda riets norma louise rogers helen Sherman

‡ designates funds directed to the COC’s endowment

In Honour of After School Opera Program earlaine Collins Alice and david Court ninalee Craig natalia lobach ruth Manke Kevin Sean Pook Tim and frances Price Mike Scott Colleen Sexsmith letty Snethen diane Visentin Prudence Whiddington As of March 18, 2014

INDIVIDUAL GIVING ANNUAL SUPPORT GOLDEN CIRCLE GOLDEN CIRCLE COMMITTEE Mark Appel Stewart Burton Stephen Marshall Judy Matthews frances Price (Chair) Colleen Sexsmith Michele Symons GOLD, $50,000 + Anne & Tony Arrell**** Cecily & robert Bradshaw* david G. Broadhurst* In memory of Gerard h. Collins**** Jerry & Geraldine heffernan**** The Catherine and Maxwell Meighen foundation**** roger d. Moore**** Arthur & Susan Scace**** Colleen Sexsmith***

SILVER, $25,000 – $49,999 Andrew Peller limited* Mark & Gail Appel*** Paul Bernards*** Barbara Black* The Black family foundation Philip deck & Kimberley Bozak*** George & Kathy dembroski**** Michael Gibbens* ethel harris & the late Milton harris**** douglas e. hodgson**** rennie & Bill humphries**** ronald Kimel & Vanessa laPerriere**** Susan loube & William Acton* James nicol & Christine Milne Jack Whiteside***

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BRONZE, $12,500 – $24,999 dr. & Mrs. hans G. Abromeit**** Philip & linda Armstrong** Ms nora Aufreiter* Mr. Philip J. Boswell**** Walter M. & lisa Balfour Bowen**** Susanne Boyce & Brendan Mullen*** rob & Teresa Brouwer* Marcia lewis Brown* Stewart & Gina Burton* Wendy M. Cecil**** dr. John Chiu in memory of Yvonne Chiu, C.M.**** Mr. & Mrs. Alexander Christ**** Stephen Clarke & elizabeth Black** The Max Clarkson family foundation**** J. rob Collins & Janet Cottrelle**** Sydney & florence Cooper*

Ensemble Studio The Canadian Opera Company Ensemble Studio is the country’s premier opera training program. Since 1980, more than 180 young Canadian singers, stage directors, apprentice opera coaches and conductors have acquired their first professional operatic experience through this program, including such well known singers as Isabel Bayrakdarian, John Fanning, Wallis Giunta, Ben Heppner, Joseph Kaiser, Allyson McHardy, Wendy Nielsen, David Pomeroy, and Krisztina Szabó. For more information about supporting the COC Ensemble Studio, please call 416-847-4949 or visit coc.ca.

Ambur Braid as Vitellia and Rihab Chaieb (kneeling) as Sesto in the COC Ensemble Studio performance of La clemenza di Tito, 2013. Photo: Michael Cooper

ninalee Craig*** Mr. & Mrs. leslie dan*** Jean davidson & Paul Spafford**** Jill denham & Stephen Marshall** david & Kristin ferguson**** George fierheller**** lloyd & Gladys fogler*** four Seasons hotels & resorts** Adam & Sharin froman* robert fung** roger & Kevin Garland** The hon. William C. Graham & Mrs. Catherine Graham**** Ira Gluskin & Maxine Granovsky Gluskin*** William & nona heaslip foundation**** Mr. Peter hinman & Ms Kristi Stangeland Michael & linda hutcheon**** Intact financial Corporation Trinity Jackman* Bernhard & hannelore Kaeser**** Jeff lloyd & Barbara henders* Mr. & Mrs. J. S. A. Macdonald**** Bobby & Gordon Macneill** Judy & Wilmot Matthews* John & esther Mcneil*** don McQueen & Trina McQueen, O.C. ** John McVicker & B. W. Thomas**** delia M. Moog*** Jonathan Morgan & Shurla Gittens* Sue Mortimer**** nicholas & rosemary Mutton* dr. M. l. Myers & the late dr. W. P. hayman*** Mrs. Christl & Mr. Karl niemuller** donald O’Born*** Peter M. Partridge**** Mr. Ian & Mrs. Michelle Pearce Mr. Tim & Mrs. frances Price**** Ms r. raso**** david roffey & Karen Walsh*** Barrie d. rose & family*** John A. rothschild** Philip & Maria Smith** Stephen & Jane Smith**** Marion & Gerald Soloway** david e. Spiro*** david Stanley-Porter**** ryerson & Michele Symons riki Turofsky & Charles Petersen** Ms Kristine Vikmanis & Mr. denton Creighton**** PRESIDENT’S COUNCIL PRESIDENT’S COUNCIL COMMITTEE Catherine Bergeron diane Adamson-Brdar Thomas J. Burton ninalee Craig Gladys fogler Marcia lewis Brown

Sue Mortimer Katalin Schäfer Colleen Sexsmith (Chair) Kristine Vikmanis Karen Walsh TRUSTEE, $7,500 – $12,499 à la Carte Kitchen Inc. laurie & fareed Ali* Margaret Atwood & Graeme Gibson*** Mr. & Mrs. Avie Bennett**** dr. david & Constance Briant**** Marilyn Cook* Andrew fleming** rainer hackert**** J. hans Kluge** Jean V. Kramar** Mr. Gurney Kranz**** Paul lee & Jill Maynard**** Anne lewitt** Jerry & Joan lozinski**** Amy & John Macfarlane* The hon. Barbara Mcdougall*** Kathleen Mclaughlin & Tim Costigan* Mark & Andrea McQueen*** rogan foundation Annie & Ian Sale* dr. david Shaw** françoise Sutton*** Carol Swallow*** PATRON, $3,750 – $7,499 Mr. Peter A. Allen* Sue Armstrong**** ron Atkinson & Bruce Blandford**** Mona h. Bandeen, C. M. ** Karen & Bill Barnett* l. h. Bartelink in memory of Oskar & Irmgard Gaube** dr. frank Bartoszek & Mr. daniel O’Brien**** dr. Thomas h. Beechy**** doug & Alison Bell Mr. & Mrs. eric Belli-Bivar*** dr. Catherine Bergeron*** Tom Bogart & Kathy Tamaki** dr. Jane Brissenden & dr. Janet roscoe**** Mrs. donna Brock*** Margaret & derek Brown**** Alice Burton*** Margaret harriett Cameron**** Joe & laurissa Canavan Cesaroni Management limited*** Paul G. Cherry & dean C. noack**** frank Ciccolini**** The rt. hon. Adrienne Clarkson Mr. & Mrs. William J. Corcoran*** lindy Cowan† & Chris hatley*** norman Curtis**** Ms lindsay dale-harris & Mr. rupert field-Marsham**** Brian J. dawson*** dr. Jeanne deinum**** Carol derk & david Giles** Mrs. A. ephraim diamond & family**** Jeffrey douglas Peter & Anne dotsikas**

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Vreni & Marc ducommun*** ron dyck & Walter Stewart*** Bud & leigh eisenberg*** Joseph fantl & Moira Bartram** Mr. & Mrs. fraser M. fell**** Kimberley fobert & robert lamb†*** The fraser elliott foundation**** dr. & Mrs. Wm. O. Geisler** The honourable Irving Gerstein & Mrs. Gail Gerstein** Ben & Sarah Glatt**** Ann J. Gibson**** Peter & Shelagh Godsoe** rose & roger Goldstein**** Michael & Anne Gough**** ronald & Birgitte Granofsky**** douglas & ruth Grant* John & Judith Grant** Al & Malka Green** John Groves & Vera del Vecchio**** James & Joyce Gutmann**** hampton Securities ltd. * Scott & ellen hand*** Maggie hayes** hon. & Mrs. Paul hellyer**** Michiel horn & Cornelia Schuh**** Scott Irvine† & Joan Watson†*** The Jackman foundation*** Victoria Jackman*** Mr. robert C. Jefferies**** dr. Joshua Josephson & Ms elaine lewis**** lorraine Kaake**** Patrick & Barbara Keenan**** dr. Joel Keenleyside**** Jim & diane King** Joseph Kerzner & lisa Koeper**** dr. elizabeth Kocmur**** Mr. Philip lanouette** John B. lawson, Q.C. **** Mr. J. levitt & Ms e. Mah* daniel & Janet li* Vincent & helene lobraico* Tom C. logan* Jonathan & dorothea lovat dickson** dr. Colin McGregor Mailer**** Mrs. J. l. Malcolm* dr. & Mrs. M. A. Manuel* hon. Margaret McCain*** Paul & Jean McGrath**** ronan McGrath & Sarah Perry* June Mclean**** Mr. Ian McWalter* Mr. Ulrich Menzefricke**** dr. Judith A. Miller*** Mr. noel Mowat** eileen Patricia newell*** Sally-Ann noznesky**** e. Oliana & A. Iu*** Janice Oliver** Keith & Brenda Ottaway*** The Ouellette family foundation dr. & Mrs. William M. Park**** douglas l. Parker**** John & Gwen Pattison* Polk family Charitable fund** Julian Porter, Q.C. * Mary Jean & frank Potter*** Margrit & Tony rahilly**** rob & Penny richards*** 23

Margaret A. riggin* Gordon robison & david Grant* Maxwell l. rotstein & nancy-Gay rotstein**** Cameron rusaw & Anne-Marie Sorrenti Judy & hy Sarick**** Sam & esther Sarick**** helen & John Scott** June Shaw & the late dr. ralph Shaw**** Allan & helaine Shiff**** david & hilary Short*** Judy & hume Smith**** dr. harley Smyth & Carolyn McIntire Smyth* dr. John Stanley & dr. helmut reichenbächer** drs. Wayne Stanley & Marina Pretorius* doreen l. Stanton**** Mr. & Mrs. Gordon Taylor*** Wendy J. Thompson Anthea Thorp**** Vincent Tovell, O.C. *** Ian Turner** dita Vadron & James Catty* rosalind & dory Vanderhoof** donald & Margaret Walter**** hugh & Colleen Washington* William r. Waters**** ruth Watts-Gransden**** dr. Virginia Wesson*** dr. Jack Williams & dr. dorothy Pringle*** Ms lilly Wong* Tom and ruth Woods**** Mr. & Mrs. richard Wookey*** linda Young* Tricia Younger* The Youssef-Warren foundation**** helen Ziegler*** Sharon Zuckerman**** Anonymous (6) MEMBER, $2,250 – $3,749 The Acheson family foundation** d. C. Adamson-Brdar**** Susan Agranove & estate of dr. larry M. Agranove**** donna & lorne Albaum* Mr. & Mrs. roberto & nancy Albis*** david & debbie Allan Clive & Barbara Allen**** Mr. Thomas & Mrs. Claire Allen** dr. d. Amato & Ms J. hodges**** Anne-Marie h. Applin*** Valerie Armstrong**** Philip Arthur & Mary Wilson* Virginia Atkin*** John Bailey** James C. Baillie* Marilyn & Charles Baillie**** Andrew & Cornelia Baines**** Janice A. Baker**** richard J. Balfour*** Schuyler Bankes & family*** lindy Barrow** Julia Bass & david hamilton*** Alice & Tom Bastedo** 24

dr. Gail Beck, O. Ont. & Mr. Andrew fenus* Mr. & Mrs. Peter & Sondra Beck* Ms Marie Bérard†*** nani & Austin Beutel**** dody Bienenstock** John & Mandy Birch* Anneliese and Walter Blackwell**** lynn Blaser & John van Ogtrop**** darlene & Peter Blenich* Ian & Janet Blue** John & Ila Bossons** Mr. W. Bowen & Ms S. Gavinchuk†**** Mrs. Carolyn Bradley-hall & Mr. William Bradley*** Mrs. richard Bradshaw*** Peter Brieger & Beverley hamblin* Mr. Ingvar & Mrs. Sheila Brogren Murray & Judy Bryant*** Brian Bucknall & Mary Jane Mossman**** Christopher & elizabeth Buller Thomas J. Burton** Maureen Callahan & douglas Gray** Sharon & howard Campbell** Brian & ellen Carr**** Gail Carson**** Ms Carol Cass Cara Celotti & Tom nicolopoulos dr. & Mrs. Albert Cheskes** Birte von Chlumecky-Bauer** John d. Church dr. howard M. Clarke*** edward Cole & Adrienne hood** Brian Collins & Amanda demers* Tony & elizabeth Comper* Murray & Katherine Corlett**** harold & Anita Corrigan*** dr. lesley S. Corrin**** Bram & Beth Costin Gay & derek Cowbourne** Mr. John A. Crocker & Mrs. Mary Crocker ruth & John Crow*** Mary Beth Currie & Jeff rintoul Carrol Anne Curry*** doris J. daughney david denison & Maureen flanagan** Michael & honor de Pencier**** Mrs. rosario de Wit-farro*** Mrs. leonard G. (Anne) delicaet & Mrs. Kendra Anne delicaet-Almasi**** Mary-Kathleen delicaet & John Young Angelo & Carol delZotto*** Mr. & Mrs. A. J. diamond* J. diGiovanni* Olwen & frank dixon** James doak & Patricia Best** Sandra Z. doblinger** Ms Petrina dolby*** dr. James & Mrs. ellen downey** Marko duic and Gabriel lau**** Mr. Albert d. dunn* Mr. Vlad dzavik

Canadian Opera Company 2013/2014 Season

William & Gwenda echard**** Jean Patterson edwards* Wendy & elliott eisen**** Mr. John J. elder & family**** Jordan elliott & lynne Griffin robert elliott & Paul Wilson** Christoph emmrich & Srilata raman dr. & Mrs. John evans*** fabris Inc. * Mr. eddy fan George A. farkass* Gail & Bob farquharson darren farwell Catherine fauquier*** Bill fearn & Claudia rogers**** lee & Shannon ferrier*** William & rosemary fillmore** Mrs. lois fleming**** J. e. fordyce**** david & elizabeth forster*** Margaret & david fountain**** linda & Ken foxcroft* Mrs. Ingrid fratzl Mr. Michael A. french** John & rita Gagliano* rev. Ivars Gaide & rev. dr. Anita Gaide*** Ann Gawman*** dr. Barry A. Gayle**** Mary & lionel Goffart* dr. eudice Goldberg* dr. fay Goldstep & dr. George freedman** deanna A. Gontard**** Tina & Michael Gooding*** Wayne A. Gooding**** Goodman family* dr. noëlle Grace & the Shohet family*** Jane Greene** Mr. finn Greflund & Mrs. M. Ortner** Mr. Carmen & Mrs. Vittoria Guglietti** ellen & Simon Gulden**** Mr. & Mrs. henry hackenspiel**** Mr. Albert haddad dan hagler & family*** Mr. Adrian J. hamel George & Irene hamilton**** John & ruth hannigan* Beverly hargraft** Paul & Margaret harricks* Michael harris & Carol rak* Mr. & Mrs. William B. harris*** Paul & natalie hartman* Mr. harquail & dr. Sigfridsson* Caroline helbronner** Jacques & elizabeth helbronner*** Thea herman & Gregory King*** William e. hewitt*** Mr. Tom higgins*** Chris hoffmann & Joan eakin** Pamela hoiles Sally holton & Stephen Ireland*** emmy & Walter homburger*** drs. Walter & Virginia hryshko* Ms Judith hull Anthony C. J. humphreys**** Gillian humphreys*

Peter & hélène hunt**** eva Innes & david Medhurst dr. Melvyn l. Iscove*** elliott Jacobson & Judy Malkin** Paul Jaggard & ruth Caswell lynne Jeffrey*** laurence Jewell** The norman & Margaret Jewison Charitable foundation**** Mrs. e. Patricia Johnson** Ms elizabeth Johnson** dr. Albert & Bette Johnston* Joyce Johnston*** Alexandra Jonsson Ms Miriam Kagan Inta Kierans**** ellen & hermann Kircher**** Martin Kirr Mr. douglas Klaassen** Michael & Sonja Koerner** Murray & Marvelle Koffler**** robin Korthals & Janet Charlton** dr. robert Kosnik**** Valarie Koziol* William & eva Krangle**** richard T. la Prairie* elizabeth & Goulding lambert*** leslie & Jo lander**** Marc lebeau & Guylaine lefebvre dr. Connie lee** linda lee & Michael Pharoah**** neal & dominique lee** dr. richard lee & Mr. Gary Van haren** Alexander & Anna leggatt*** Joy levine*** Mr. Peter levitt & Ms Mai Why** l. liivamagi & dr. d. n. Cash Justin S. linden Marjorie & roy linden**** dr. & Mrs. W. G. lindley**** Janet & Sid lindsay*** Anthony J. lisanti*** dr. Vance logan*** A. Benson lorriman**** douglas l. ludwig & Karen J. rice*** James & Connie Macdougall**** Mr. Jed MacKay**** dr. & Mrs. richard Mackenzie**** Macro Properties ltd. ** Ole P. Madsen* Mr. A. Mafrici**** Susan & Scott Maidment*** r. Manke**** Mr. & Mrs. r. Gordon Marantz**** fernando & Marietta Martinez-Caro Jill & Geoff Matus** roberto Mauro† & erin Wall Mrs. ettore Mazzoleni*** dr. & Mrs. John A. McCallum**** Wendy & Chris Mcdowall** dr. & Mrs. donald C. McGillivray**** darcy & Joyce McKeough* Mr. Brent Mclaughlin don Mclean & diane Martello Guy & Joanne Mclean**** M. e. Mcleod****

Mr. Thomas Mcnicholas Shawn Mcreynolds & elaine Kierans* dr. davender Mehra & dr. ellis Galea Kirkland dr. don Melady & Mr. rowley Mossop*** eileen Mercier**** Ms Andrea Miller Marvene (Cox) & Gordon Miller** lee Milliken† & doug Macnaughton** Patricia & frank Mills** dr. & Mrs. Steven Millward Audrey & david Mirvish*** Bruce & Vladka Mitchell* dr. david n. Mitchell & dr. Susan M. Till*** Mr. donald Mitchell eva Mocarski* Anne Moore**** Mr. robert Morassutti**** ruth Morawetz & Ken Judd*** Alice Janet Morgan*** Ms rosalind Morrow** drs. Christopher & Pippa Moss*** Gael Mourant & Caroline hubberstey Mr. Joseph Mulder** ethel Myers**** Matt & debbie Mysak*** david & Mary neelands*** dr. Shirley C. neuman** dr. emilie newell* dr. Steven nitzkin*** Simon & Marlene nyilassy* dr. James & Mrs. Valda Oestreicher*** Benson Orenstein*** Martin & Myrna Ossip* Clarence & Mary Pace** dr. & Mrs. n. Pairaudeau**** lee Parsons dr. roger d. Pearce*** dr. A. Angus Peller* John & Penelope Pepperell* dr. r. G. Perrin** John & Carol Peterson** M. J. Phillips**** June C. Pinkney**** robin B. Pitcher*** Wanda Plachta*** Georgia Prassas**** Ms Jill Presser & Mr. John duffy* dr. Mark Quigley**** Stephen ralls & Bruce Ubukata*** Professor C. edward rathé**** The Carol & Morton rapp foundation**** Kenneth f. read**** Mrs. richard Gavin reid* Grant l. reuber*** Mrs. Gabrielle richards** Carolyn ricketts**** Ms nada ristich emily & fred rizner** Clara robert* dr. Michael & Mary romeo**** John & hannah rosen* Ken & helen rotenberg**

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rainer & Sharyn rothfuss**** The roux family Peter A. roy & leah Taylor roy drs. Orest & Maureen rudzik**** david A. ruston*** Ms Sharon Cookie Sandler**** Mallory Morris Sartz & John Sartz**** Go Sato*** dr. & Mrs. Bruce Schaef**** Katalin Schäfer*** fred & Mary Schulz** dr. Marianne Seger**** Carol Seifert & Bruno Tesan*** Victor & rhoda Shields**** Milton & Joyce Shier**** dr. Kevin Shiffman** William Siegel & Margaret Swaine** dr. Bernie & Mrs. Bobbie Silverman** In memory of dr. Bernard Slatt* dr. & Mrs. Jeremy Sloan** Brit & Sally Smith** Jay Smith & laura rapp* Ms Muriel Smith & Mr. eric Ojala**** dr. Joseph So*** Philip Somerville* John & ellen Spears*** Martha e. Spears*** Alex & Kim Squires**** Oksana r. Stein*** Mr. & Mrs. Gary & Sula Stern* dr. & Mrs. Stephen Stern*** John d. Stevenson**** Jim Stewart & deborah Swail* James h. Stonehouse* Janet Stubbs** eric Tang & dr. James Miller** Judith Teller foundation**** Tesari Charitable foundation** elizabeth Tory**** Mr. Alex Tosheff* Sandra & Guy Upjohn*** edmond & Sylvia Vanhaverbeke**** Stefan Varga & dr. Marica Varga Mr. & Mrs. henry & Ann louise Vehovec*** dr. Yvonne Verbeeten** dr. helen Vosu & donald Milner**** richard & nathalie Wachsberg* elizabeth & Michael Walker*** Ann & Marshall Webb** Peter Webb & Joan York**** Philip & diana Weinstein* dr. Bogomila Welsh* Ms eleanor Westney** Melanie Whitehead** Mr. Brian Wilks* elizabeth Wilson & Ian Montagnes**** Mr. dale Woolridge dr. Jackson Wu & dr. Viviana Chang* Ms June Yee** Morden Yolles**** dr. howard & Sybil Young**** helen & Walter Zwig**** Anonymous (30) 25

A scene from the COC's Gianni Schicchi, 2012. Photo: Michael Cooper

Join us! Todayâ&#x20AC;&#x2122;s performance has been made possible, in part, by the generosity and loyal support of the Friends of the COC*. Our Friends also support our education and outreach programs and Ensemble Studio training program. Become a Friend of the COC and you can join us in the Friends Lounge at all COC performances, enjoy special behind-the-scenes working rehearsals and events, receive our newsletter Prelude, as well as gain access to single tickets one week prior to the public. All gifts will be gratefully acknowledged with a charitable tax receipt. For more information, please stop by the Friends Lounge located on Ring 3, visit coc.ca, or call 416-847-4949.

*Friends of the COC give a charitable membership gift between $150 â&#x20AC;&#x201C; $2,249 annually.

FRIENDS OF THE COC SUSTAINING FRIENDS $1,600 – $2,249 Yvonne Blaszczyk Iivi Campbell**** Jayne & Ted dawson**** Bill heaslip**** Mr. Josef hrdina* dr. Paul & Mrs. Marcia Kavanagh I. Mcdorman**** dr. norbert V. Perera**** Ms Adrianne Pieczonka david Smukler & Patricia Kern** The Sorbara Group**** Vernon & Beryl Turner**** Ms eda Varalli Gordon Waugh*** Anonymous (1) ASSOCIATE FRIENDS $1,100 – $1,599 Carol & ernest Albright**** Ms I. M. Allen**** Gail Asper O.C., O.M., lld Michael & Janet Barnard** Michael Benedict & Martha lowrie**** don Biderman**** dr. & Ms B. M. Braude** dr. Wendy C. Chan Patricia Clarke** Cogeco data Services Inc. Mr. Stuart davidson Mr. darren day*** Mr. Steven d. donohoe**** dr. Christine dunbar** Mr. larry enkin *** dr. James M. ferguson Mr. Morris flicht**** r. dalton fowler**** John h. Galloway**** ricardo Gomez-Insausti* Mrs. Suzy Greenspan** Mr. James hamilton* Mr. & Mrs. h. C. hatch**** lawrence & Beatrice herman**** In memory of Pauline hinch* haim & Mardi hirshberg* david holdsworth & nicole Senécal* richard & Susan horner**** donald hughes*** James hughes** Karen & Craig* Ms Suanne Kelman & dr. Allan J. fox* Mrs. Mary liitoja**** Valery lloyd-Watts deidre lynch* P. Anne Mackay**** Mrs. Janet Maggiacomo** Georgina Mclennan**** Mr. david Milovanovic & dr. Cinda dyer Mr. Carl Morey**** Mr. Sean O'neill*** Ms Marianne Orr* eileen & ralph Overend* Mr. Martti Paloheimo** Barbara & Peter Pauly** Ms Victoria Pinnington***

Alice Pitt & deborah Britzman Mr. & Mrs. domenic Porporo* Prometheum Institute*** dr. Peter ray*** dorothy & robert ross*** M. & G. Sanvido**** William & Meredith Saunderson**** Ms elisabeth Scarff**** Joan Sinclair & John McConnell** dr. & Mrs. W. K. Stavraky*** norma & George Steiner**** dr. & Mrs. Karel Terbrugge* Ms Peg Thoen* Angela Thompson† dr. M. lynne Thurling & dr. John Treilhard*** Mr. & Mrs. david G. Trent**** dr. Peter Voore*** Janet White** ron Williams* Anonymous (7) CONTRIBUTING FRIENDS $700 – $1,099 dr. I. l. Babb fund at the Toronto Community foundation**** Schuyler Bankes & family*** Peter & leslie Barton** Mrs. lynn Bayer*** dr. robert Bell Catherine Belyea† Jeniva Berger*** Anthony Bird**** dr. B. derek & dr. Anne W. Birt**** dr. Jennifer Blake* ellen & Murray Blankstein Mary Brock & Brian Iler**** Mr. Thomas n. Bryson** Ms Judith Burrows** Ms e. Burton*** Betty Carlyle**** Mark Cestnik & natercia Sousa**** Geoffrey & Bilgi Chapman**** harold Chmara & danny hoy **** Jillian Clarke Joe T. r. Clarke**** Sherri Clarkson d. M. Cook*** robert d. Cook** Mr. neil Crawford* Professor K. G. davey** M. P. davies** Anita day don deBoer & Brent Vickar*** Mr. Michael disney* dr. eric domville** Wendy drahovzal howard & Kathrine eckler** Peter & Shashi eden** Ms eleanor l. ellins**** roger & Janet emery*** Mr. Arthur english* Joe & helen feldmann** Brian A. ferguson**** Tom flemming**** Jennifer & frank flower*** Marie-lison fougere*

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Angelo furgiuele & family* douglas G. Gardner**** elinor Gill ratcliffe C.M., O.n.l., lld (hc) Alison Girling & Paul Schabas** Aviva & Andrew Goldenberg** dr. Wilfred S. Goodman**** david Gordon & Wendy flores Gordon* In memory of n. Bruce Grandfield Mrs. Marion A. Green**** dr. & Mrs. Voldemars Gulens**** dr. & Mrs. Brian & Cynthia hands**** roy & Gail harrison**** Sandra hausman** In memory of Glenda henniger* Mr. Matthew hilgerdenaar In memory of Pauline hinch** Mr. Sylvain houle* dr. Ivan & Mrs. diana hronsky**** In loving memory of Joyce Whitney hughes Mr. Pierre hurtubise**** Mr. david hutton** Mr. Sumant Inamdar** Mr. Kazik Jedrzejczak**** douglas & dorothy Joyce**** Ms elisa Kearney Ms Meredith Keeve lilian Kilianski† & Brian Pritchard* Mai Kirch**** dr. & Mrs. l. A. Kitchell**** Mr. Christopher J. Kowal Mr. Jonathan Krehm* Gediminas P. Kurpis**** Mr. James r. lake**** harry lane** M. J. horsfall large** Miss donna lasecki**** Alan & Marti latta**** Giles le riche & rosemary Polczer*** Claus & heather lenk* Mr. Yakov lerner dr. david levine & Ms diane Craig dr. francois loubert* Mr. Andrew & Mrs. harriet lyons Kathy Marton* Mary McClymont**** Mary McGowan**** Jil McIntosh** Mr. Bruce McKeown*** Sylvia McPhee**** Janis Medland* Suzanne Mess*** Kamini & lynne Milnes frank & Anne Moir** Anne Murdock** Mr. Tomi nishio**** david northcote & Suzanne Betcke* Ms Cristina Oke** Karen Olinyk†* Mr. James C. Pappas**** Mr. Joseph & Mrs. letizia Paradiso*** Pauline & donald david Peachey & Georgia henderson** 27

Mrs. dorothy K. Piepke**** ed & Beth Price*** Mr. robert radke dr. Shelley rechner**** Marat ressin Ms laura rimas* Ms Virginia robeson* Amye & deeAnn hagler Sagar† Patti & richard Schabas** nancy A. Schiefer in memory of Walter Schiefer*** henry & Mary Seldon**** Cheryl Shook** d. Bruce Sinclair** John Spears**** Phil Spencer**** helga & Klaus Stegemann*** Jane & Ted Stephenson**** hamish Stewart & Susan Taylor**** Stoesser law Office Ms Michelle Tan** dr. r. Paul Thompson* ria Tietz**** dr. Claude Tousignant** Mrs. Maria Tulip**** Mrs. norene Turvolgyi**** dr. nancy f. Vogan**** Mr. Wayne Vogan†**** George Vona & lark Popov** Angela & Michael Vuchnich**** Mr. John M. Welch**** James & Margaret Whitby**** f. Whittaker** nina Wright** Ms diana Yenson Ms Iris Zawadowski* Anonymous (5) THE ENCORE LEGACY The encore legacy is the planned giving program of the Canadian Opera Company. Planned giving is making the decision today to provide a gift for the Canadian Opera Company that may not be realized until after your lifetime. Gifts planned today, that will ultimately affect your estate, allow you to make a statement of support that will become a lasting legacy to the COC. The Canadian Opera Company gratefully acknowledges and thanks the following individuals who have included the COC in their estate planning: Susan Agranove & estate of dr. larry M. Agranove Isobel Allen renata Arens & elizabeth frey Mrs. rosalen Armstrong ron Atkinson & Bruce Blandford lindy Barrow Mr. l. h. Bartelink J. linden Best & James G. Kerr david Bowen Mr. Philip J. Boswell Marnie M. Bracht Gregory Brandt Mrs. Ann Christie 28

earl Clark The rt. hon. Adrienne Clarkson Brian Collins & Amanda demers earlaine Collins david h. Cormack Mrs. ninalee Craig Anita day & robert Mcdonald Ann de Brouwer helen drake rowland d. Galbraith douglas G. Gardner Ann J. Gibson Michael & Anne Gough l. A. Grover George & Irene hamilton Joan l. harris James hewson John r. higgins Mr. Kim Yim ho & Walter frederic Thommen douglas e. hodgson Matt hughes Michael & linda hutcheon lynne Jeffrey Ann Kadrnka Ben Kizemchuk Kathryn Kossow Mr. Gurney Kranz Jo lander Peggy lau Marjorie & roy linden Tom C. logan, A.r.C.T. Ms lenore Macdonald dr. Colin M. Mailer r. Manke Tim & Jane Marlatt Mr. Shawn Martin Margaret McKee Sylvia M. McPhee dr. Alan C. Middleton eleanor Miller Sigmund & elaine Mintz donald Morse Sue Mortimer Mr. & Mrs. James d. Patterson Mervyn Pickering Gunther & dorothy Piepke Wanda Plachta Ms Georgia Prassas K. f. read dr. John reeve-newson Mrs. Margaret russell Cookie & Stephen Sandler Claire Shaw r. Bonnie Shettler david e. Spiro dr. d. P. Stanley-Porter doreen l. Stanton lilly Offenbach-Strauss drs. W. & K. Stavraky Janet Stubbs Ann Sutton ronald Taber Mrs. l. Treutler riki Turofsky & Charles Petersen n. Suzanne Vanstone Marie-laure Wagner hugh & Colleen Washington Marion C. Wilson Marion York Tricia Younger Anonymous (58)

Canadian Opera Company 2013/2014 Season

OPERATOURS DONORS $700 + (From February 2013 – March 2014) dr. eric W. Amann** James C. Baillie* howard & ruth Barrett**** Ian & Janet Blue** Ms e. Burton*** louise Coxall*** edward Cummings & Margaret Kelly**** donald Gutteridge & Anne Millar**** dr. elizabeth Kocmur**** earl law**** John B. lawson, Q.C.**** dr. & Mrs. richard Mackenzie**** Ms Antonieta Marticorena**** Mr. heinz & Mrs. Janet Mayr Mr. Alex Moraru* Ms h. M. Murata*** Ms helma neil* Ms lynda neil Mrs. Christa nimmo**** Mr. Michael r. Overbury*** dr. Krystyna Prutis-Misterska**** rainer & Sharyn rothfuss**** Mr. Michael Samborsky** Beverly & fred Schaeffer**** Stephen & Jane Smith**** Ms C. Soles david roffey & Karen Walsh*** Ms June Yee** Anonymous (5) CORPORATE MATCHING PARTNERS The Canadian Opera Company gratefully acknowledges the following organizations that have matched gifts by their employees: Canadian Tire Corporation limited IBM Canada ltd. Ivanhoe Cambridge Inc Goodman & Company, Investment Counsel ltd. fM Global foundation The above Individual Support Gifts were made as of March 14, 2014 * ** *** **** † ‡

five to nine years of support 10 to 14 years of support 15 to 19 years of support 20 or more years of support COC administration, chorus or orchestra member endowment

despite the staff’s extensive efforts to avoid errors and omissions, mistakes can occur. If your name was omitted, listed incorrectly or misspelled, we apologize for any inconvenience this may have caused. We would appreciate being notified of any errors at 416-847-4949.

Spring is busting out (at last) at

THE OPERA SHOP Thrilling recordings of our spring operas, lusciously hued jewellery, and a great array of giftware and books are here! And we’re featuring a range of artisan jewellery for the spring season: Zsiska, Giovanna Paz, Rikki Blitt and Whitelotus Design. The Opera Shop is located on the main floor of the Isadore and Rosalie Sharp City Room, open before, during, and (sometimes) after all performances.

Spring T Trunk runk ru Show Dates Sunday, April 27: Whitelotus Design Saturday, May 10: David Dunkley, Nancy Ciccone

Featured recordings from Universal Classics CD Hercules, Deutsche Grammophon CD. The Monteverdi Choir and English Baroque Soloists. John Eliot Gardinerr, conductor.. John Tomlinson, o Sarah Walkerr, Anthony RolfeJohnson and Catherine Denley. Gardiner illuminates Handel’s score with a sensitive interpretation of one of the Baroque master ’s greatest works. $18.50 including tax

DVD Roberto Devereux Deutsche Grammophon DVD. Legendary dramatic coloratura soprano Edita Gruberova gives the performance of her career as Elizabeth I in Christof Loy’s innovative staging for Bavarian State Opera. Loy “fashions an overwhelming chamber play with precise gestures and unflagging dramatic conviction…” (Münchner Merkur). $25.75 including tax

CD Don Quichotte Mariinsky Label CD. Our own Don Quichotte, bass Ferruccio Furlanetto whose “dark, round tone is perfect for the role” (Grra amophone), stars in this new recording of Massenet’s opera led by Valery Gergiev and his Mariinsky Orchestra and Chorus. $39 including tax

The Opera Shop is a project of the Canadian Opera Company, in partnership with L’Atelier Grigorian and Decca – The Opera Label. All proceeds support the Canadian Opera Company.

MAJOR CORPORATE SPONSORS 2013/2014 SEASON BMO financial Group Pre-Performance Opera Chats and BMO financial Group Student dress rehearsals. Mozart’s Così fan tutte generously underwritten in part by

Official Automotive Sponsor of the COC at the fSCPA

Presenting Sponsor of SUrTITleS™

Major Supporter, ensemble Studio Competition Supporter, Centre Stage: Ensemble Studio Competition Gala

Glencore ensemble Studio School Tour

Presenting Sponsor Opera Under 30 and Operanat10n: A Night of Temptation

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Production Sponsor Verdi’s Un Ballo in Maschera

Program Sponsor After School Opera Program

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Canadian Opera Company 2013/2014 Season

diamond Performance Sponsor

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2013/2014 SPONSORS DIAMOND PERFORMANCE SPONSORS

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CENTRE STAGE: ENSEMBLE STUDIO COMPETITION GALA 2013 COMPETITION SUPPORTERS rBC and rBC foundation Peter M. deeb hal Jackman foundation PLATINUM SPONSOR Mercedes-Benz GOLD SPONSORS Brookfield Asset Management extuple Scotiabank

PERFORMANCE SPONSORS Barrick Gold linden & Associates fionn MacCool’s four Seasons hotels and resorts McCarthy Tetrault llP norton rose fulbright PwC PROGRAM SPONSOR Great West life, london life and Canada life, Living Opera Program Sponsor OPENING NIGHT SPONSOR fionn MacCool’s LA BOHÉME OPENING NIGHT SPONSOR San Pellegrino PREFERRED FLORISTS Bloom The flower Company Quince flowers CORPORATE AND FOUNDATION DONORS MAJOR GIFTS $10,000+ Audrey S. hellyer Charitable foundation The hal Jackman fund at the Ontario Arts foundation J.P. Bickell foundation The lloyd Carr-harris foundation OCC lasik The Mclean foundation Anonymous (1) $5,000 to $9,999 225490 Investments limited local 58 Charitable Benefit fund Unit Park holdings Inc. The hope Charitable foundation Shinex Window Cleaning Inc State Street $3,000 to $4,999 Classical 96.3 fM hicks Memorial fund at The Calgary foundation Vida Peene fund at the Canada Council for the Arts $2,000 to $2,999 d’Avignon freight Services Inc. Jarvis & Associates MAC Cosmetics Milgram Group of Companies ltd. $1,000 to $1,999 AIMIA loyaltyOne Inc. The Powis family foundation

Please visit coc.ca for additional information

OPERANAT10N: A NIGHT OF TEMPTATION PRESENTING SPONSOR Td Bank Group VIP SPONSOR J.P. Morgan OFFICIAL FRAGRANCE Calvin Klein dOWnTOWn PARTNERING SPONSORS Burgundy Asset Management Globalive Communications Corp. CONTRIBUTING SPONSORS BMO Weirfoulds llP EVENT SPONSORS 10tation Alan Candy Chair-man Mills KAelen Knot Pr lilium Media needs Mill St. Perrier Sheridan nurseries Toronto life Trius Wines FINE WINE AUCTION 2014 PRESENTING SPONSORS Td Securities Bloomberg Graywood Group PARTNERING SPONSORS GWlM Inc. Thomson reuters Blake, Cassels & Graydon llP SUPPORTING SPONSORS IAMGOld Ozz electric EVENT SPONSORS falconcrest homes Marel Contractors CHEESE SPONSOR The Cheese Boutique AUCTIONEER Stephen ranger fine Art Valuation & Consultancy 2013/2014 MEDIA SPONSORS & IN-KIND SUPPORTERS remenyi house of Music ltd.

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

OPERATING SUPPORT

We acknowledge the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country. nous remercions le Conseil des arts du Canada de son soutien. l’an dernier, le Conseil a investi 157 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.

ENSEMBLE STUDIO

SPECIAL PROJECT FUNDING for the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: department of Canadian heritage employment and Social development Canada

CREDITS & ACKNOWLEDGMENTS The Canadian Opera Company would like to thank all those who volunteer both on a daily basis and for special events with the company. Michael Cooper: Official photographer The COC is a member of Opera America, Opera.ca. and TAPA. The COC operates in agreement with Canadian Actors’ equity Association. The COC operates in agreement with I.A.T.S.e., local #58, local #822, local #828.

Canadian Opera Company 2013/2014 Season

GOOSEBUMPS INCLUDED.

The power of emotions on stage can be experienced in many ways. We are proud to be the Presenting Sponsor of SURTITLESâ&#x201E;˘ at the Canadian Opera Company, to help patrons experience every emotion under the sun - along with, of course, the goosebumps.

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

ÂŽ Making the Arts More Accessible is a registered trade-mark of Sun Life Assurance Company of Canada.

DON GIOVANNI MOZART

In this darkly witty COC production, Don Juan – the icon of seduction – is brought to blistering life, his almost supernatural, sexual magnetism undimmed as he faces his inevitable downfall. The star-studded cast features Canadian baritone and COC favourite Russell Braun in the title role. “The primary focus of this production is this idea of free love, which can be very fulfilling for one person as they plow through the lives of dozens of other people and leave carnage in their wake. And this is this last ideal that Don Giovanni clings to, this “Viva la libertà!”; freedom in every aspect, and especially when it comes to relationships. Don Giovanni actually goes where few operas dare to go in terms of relationships, and this production that’s coming to Toronto is very, very challenging for the audience in terms of creating an environment where they come with an open mind and are ready to accept what’s a parallel narrative to the traditional story of Don Giovanni.”

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January 24 – February 21, 2015

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Canadian Opera Company

Main image: Russell Braun. Photo: Gary Mulcahey, 2013. Inset: Kerstin Avemo and Bo Skovhus in Don Giovanni (Festival d’Aix-en-Provence, 2010). Photo: Pascal Victor/Artcomart

AIRLINE ICARUS Music by Brian Current | Libretto by Anton Piatigorsky Directed by Tim Albery A modern opera about hubris and technology, the forced intimacy of strangers and flying too close to the sun.

June 3â&#x20AC;&#x201C;8, 2014 Ada Slaight Hall, Daniels Spectrum For tickets call 416-408-0208 or visit soundstreams.ca

opera.ca

This is a legend of heroes and gods, forbidden love and revenge, and it sets the stage for the subsequent instalments of Wagner’s most magnificent artistic achievement, the Ring Cycle. Christine Goerke makes her much-anticipated role debut as Brünnhilde with the COC, after which she will sing this ultimate soprano challenge at the Met and Lyric Opera of Chicago. “I have hoped my entire career that I would have an opportunity to sing [Brünnhilde]. She is a strong, strong woman. And she is a righteous woman. And in the end, she is a very passionate woman. She’s the best that all of us have in us. It’s a gift to play a character like that. I couldn’t be more excited to have this be my first shot with this character, with this opera, and with a company that truly loves opera as much as the COC does.”

DIE WALKÜRE WAGNER Production originally made possible by Kolter Communities

January 31 – February 22, 2015 COC PRODUCTION

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Canadian Opera Company

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Main image: Christine Goerke. Photo: Gary Mulcahey, 2013. Inset: Die Walküre (COC, 2006). Photo: Michael Cooper

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MASTERING MASSENET FERRUCCIO FURLANETTO LEADS AN INCOMPARABLE CAST BY CLAIRE MORLEY

ver the past few years, the Canadian Opera Company has been increasingly attracting the world’s best artists to the stage of the Four Seasons Centre for the Performing Arts, and this spring season may be one of the finest examples of the star-studded roster that choose to work with us. The 2013/2014 season closes with one of the most beautiful tributes to literature’s greatest dreamer in Massenet’s superb Don Quichotte, and making his long-awaited company debut in the title role is one of the greatest basses working today, Italian opera superstar Ferruccio Furlanetto. Alongside Furlanetto is Met favourite mezzo-soprano Ekaterina Gubanova as Dulcinée and Hawaiian baritone Quinn Kelsey as Sancho Panza, who COC audiences will remember from 2011’s Rigoletto. Ferruccio Furlanetto is one of opera’s household names. His big break came in 1986 when he sang the role of King Philip II in Verdi’s Don Carlo at the Salzburg Festival, under conductor Herbert von Karajan. His subsequent debuts at major opera houses came quickly, and he is now a regular at La Scala, the Met, and Vienna State Opera. Furlanetto is eager to come to Toronto and make his debut in an opera house about which he has “heard only beautiful remarks.” And we are fortunate since Furlanetto counts Don Quichotte among his all-time favourite roles to sing, not only because it is “vocally splendid and 24

Canadian Opera Company 2013/2014 Season

Ferruccio Furlanetto

demanding, but also because of the acting required. The completeness of the role gives the interpreter a unique satisfaction.” When asked why he thinks Don Quichotte is such an iconic character, Furlanetto says “it is because he is what every man should be ideally, at least for a few moments in his life. He is a man full of humanity, love, tenderness and appreciation of life… and the bond between Don Quichotte and Sancho Panza is more profound and human than any other couple in theatre, and is based on those incredible human qualities.” Also making her COC debut is Russian mezzo-soprano Ekaterina Gubanova in the role of Dulcinée, the object of Don Quichotte’s affection. Gubanova’s COC and role debut this spring will be followed by a repeat visit next year, when she sings the role of Judith opposite John Relyea in Bartók’s Bluebeard’s Castle. When it comes to learning a new role, Gubanova says, “I don’t want to be influenced by any other singer. I buy the score and start from scratch, without listening to a recording. I always pay a lot of attention to phrasing, first playing a line on the piano to find the right direction of the phrase. Only when I am satisfied with that result do I then sing it. I also write all the words down by hand in a notebook; this helps me learn more quickly. And the way that Massenet treats vocal line and the language in Don Quichotte creates a very special feeling of continuity –

Photo: Ian Whalen Photography

SPRING SHOWCASE 2014 May 21, 22, 23 & 24 at 7:30 p.m. May 24 at 2:00 p.m. $50 Adults | $30 Students & Seniors Box Office opens April 29 PRESENTING SPONSOR

Presenting classical & contemporary works including: The Sleeping Beauty Act III Two new world premieres choreographed by NBS alumni: Robert Binet, Choreographic Associate, The National Ballet of Canada & Demis Volpi, Resident Choreographer, Stuttgart Ballet

CALL 416-964-5148 OR EMAIL BOXOFFICE@NBS-ENB.CA VISIT WWW.NBS-ENB.CA FOR MORE DETAILS

MASTERING MASSENET: Ferruccio Furlanetto Leads an Incomparable Cast

Ekaterina Gubanova

Quinn Kelsey

as if the lines are bending freely each time one sings them! Dulcinée is a welcome detour from my usual repertoire. She’s a light-minded, curious, even careless young woman who is enjoying life and discovering new horizons.” Rounding out the top-tier principal cast of Don Quichotte is baritone Quinn Kelsey who sings the role of Sancho Panza, Don Quichotte’s loyal sidekick. He was last here in 2011, when he sang the title role in Rigoletto, and eagerly anticipates his return: “I’m looking forward to coming back, seeing familiar faces, seeing Johannes Debus, and working with Ferruccio again – it’s never bad to work

with that guy on stage! I first met him two years ago in San Francisco when I sang Ezio to his Attila in Verdi’s Attila and then later that year I sang Paolo in Simon Boccanegra to his Fiesco. He’s a sweetheart, and a terribly wonderful colleague. He was so very complimentary when we worked together, and to hear compliments and positive criticism from someone like that was a huge honour. Ekaterina and I did a competition together, and then her career really took off in Europe, and we haven’t yet had the chance to work together, so I’m really looking forward to seeing her again. And I had such a great time in Toronto last time. It was my first time in Canada for work, and I felt very welcomed. Everyone was so hospitable so I really enjoyed myself. When you get to work on a big production like this with people you know, it lessens the anxiety and the stress. The COC is a very comfortable place, and I had a lot of fun. I can’t wait to come back!” n Claire Morley is Associate Manager, Editorial at the Canadian Opera Company.

John Relyea, Malgorzata Walewska and Alex Mansoori in Don Quichotte (Seattle Opera, 2011). All production photos: Rozarii Lynch

FOR FURTHER INSIGHT INTO THE COC’S PRODUCTION OF DON QUICHOTTE, PLEASE READ THE FULL INTERVIEW WITH FERRUCCIO FURLANETTO AND ANATOMY OF AN OPERA, IN THE SPRING ISSUE OF PRELUDE, AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

Canadian Opera Company 2013/2014 Season

A scene from Don Quichotte (Seattle Opera, 2011).

DON QUICHOTTE OPERA BACKGROUND Spanish novelist, poet and playwright Miguel de Cervantes’ (1547-1616) canonical and influential novel The Ingenious Gentleman Don Quixote of La Mancha was published in two parts in 1605 and 1615. It recounts the adventures of an elderly Spanish gentleman suffering from madness who declares himself a “knight-errant” and begins travelling throughout Spain with his sidekick, Sancho Panza, in order to right all wrongs and seek fame and honour. Jules Massenet’s opera is based on a greatly simplified theatrical adaptation of Cervantes’ novel, Le chevalier de la longue figure (The knight of the long face, early 1900s), by poet Jacques le Lorrain who died shortly after its first run at the Théatre Victor Hugo in Paris in 1904. Raoul Gunsbourg, intendant of Opéra de Monte Carlo, attended this first showing and was so impressed that he commissioned Massenet to turn it into an opera which subsequently premiered at Monte Carlo in 1910. During his lifetime Jules Massenet (1842-1912) was France’s most celebrated opera composer. Today however, with the exception of Manon (1884) and Werther (1892), his operas are rarely staged. The question remains as to why audiences have been reluctant to draw his operas to their collective bosom. The answer might lie with the fact that despite his reputation as a musical conservative, Massenet’s subject matter can be a touch subversive. Dulcinée for example – the nominal “love interest” in Don Quichotte – enjoys a rather fluid social status. She is unattached, independent and enjoys the attentions of several admirers, exemplifying Massenet’s penchant for female characters who don’t always follow the long-laid-down “rules” – and are thus less likely to become beloved, sentimental audience favourites. Musically, Don Quichotte shows Massenet composing in his more chamber music-like mode. Although he could write operas requiring huge orchestral and choral forces such as 1889’s Esclarmonde with its Wagnerian, Tristan und Isolde-inspired story, he was able to downsize all of this in the interest of telling Don Quichotte’s more intimate, personal story. Many of its numbers are lightly orchestrated, accompanied by solo instruments such as the guitar; or, by solo instrumental sections such as the cellos that dominate Don Quichotte’s final death scene. Visit coc.ca/COCRadio to access listening guides for all our productions. 28

Canadian Opera Company 2013/2014 Season

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THE BARBER OF SEVILLE ROSSINI Rossini’s score is a veritable hit parade, with showstoppers and sparkling tunes aplenty, while the creative magic on stage reminds us how much sheer fun can be had at the opera – a confection the entire family can enjoy. The “dynamite” (Opera News) baritone Joshua Hopkins leads a remarkable cast of young and brilliant voices in a colourful and riotous production. “I love the role of Figaro because he has such a quick wit. Whether it’s taking a love note to a suitor or being an actual barber, he does it all, and he does it with aplomb. But he also has a slight dark side to him… he’s like an intelligent chess player, always thinking two moves ahead of anybody else. There’s a lot of great music, a lot of hits – “Largo al factotum” is probably one of the best-known baritone arias in the world – and the overture itself is worth the price of admission.”

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Main image: Joshua Hopkins. Photo: Gary Mulcahey, 2013. Inset: The Barber of Seville (Houston Grand Opera, 2011). Photo: Felix Sanchez

Canadian Opera Company

Robert Lepage’s ground-breaking production of Bartók’s Bluebeard’s Castle and Schoenberg’s Erwartung astounded Toronto audiences at its 1993 premiere, establishing the COC as one of the world’s most visionary and compelling opera companies. Superstar Canadian bass John Relyea (The Tales of Hoffmann, 2012) sings the strangely alluring Duke Bluebeard who inhabits a dark, mysterious castle whose secrets he does not want revealed. “Singing Bluebeard at the Four Seasons Centre is going to be big, loud, and beautiful. It’s one of my favourite pieces in that it really is a perfect integration of music and theatre. There’s such a duality to the piece: there’s so much beauty, there’s so much terror. You really feel like you’re discovering a whole style unto itself when you sing Bartók. Erwartung and Bluebeard’s Castle are great companion pieces. They both have a very raw, visceral feeling of expressionism. And they are both penetrating looks into the chaotic nature of the human soul.”

BLUEBEARD’S CASTLE/ ERWARTUNG BARTÓK/SCHOENBERG

May 6 – 23, 2015 COC PRODUCTION

JOIN US IN 2014/2015 CanadianOpera.ca 32

Canadian Opera Company

SEE SIX OPERAS FROM JUST $

169

Main image: John Relyea. Photo: Gary Mulcahey, 2013. Inset: Peter Fried and Sara Fulgoni in Bluebeard’s Castle (COC, 2001). Photo: Michael Cooper

YOUR Y OUR GIFT WILL GO TWICE A AS SF FAR! AR! SUPPORT THE YEAR-END CAMP PAIGN TODAY From now until June 30, 2014, every gift to the Y Yeear-End Matching Campaign will be matched dollar for dollar by an anonymous donorr, with all contributions going to support key Canadian Opera Company programs, including the Joan Baillie Archives. With your help we’ll be able to continue cataloguing and archiving a wealth of material – administrative records, audio and video recordings of COC performances, set and costume designs, etc. – to ensure that the past continues to inform our present, and inspire our future. Maximize your gift by giving before June 30, 2014.

Call us at 416-847-4949 or visit us at coc.ca/Support to help preserve the history of the Canadian Opera Company.

The COC recognizes individual donations with a charitable tax receipt for the maximum amount allowable under the Canada Revenue Agency guidelines. Clockwise from left: Poster for The Barber of Seville, 1958. On tour with Orpheus in the Underworld, 1971/1972. Sonia Rohozynsky in The Merry W Wido idow, 1971.

PATRON INFORMATION AND POLICIES Etiquette Patrons are reminded that R. Fraser Elliott Hall is an extremely lively auditorium and that all audience noise will be accentuated and audible to other patrons. Turn off all electronic devices, avoid talking, coughing, humming, moving loose seats, kicking the backs of seats, rustling programs, and unwrapping candies or cough drops. In consideration of patrons with allergies please avoid wearing strongly perfumed beauty products and fragrances. Please remain in your seat until the performance has completely ended and the house lights have been turned on. Electronic Devices The use of mobile and smartphones and all other electronic devices is extremely disruptive and is strictly prohibited during performances. Cameras/Recording Devices The use of cameras, video cameras or sound-recording devices of any kind is prohibited in R. Fraser Elliott Hall during performances. Any person using an unauthorized recording device while the performance is in progress will be required to surrender or erase any recordings, photographic or digital images and may be asked to leave. No refunds will be issued. Latecomers In the interest of safety and for the comfort of all patrons and performers, latecomers may not enter the auditorium or be seated unless there is a suitable break in the performance (usually intermission). Patrons leaving the auditorium during the performance or returning late after intermission may not be readmitted or may be accommodated in an alternate viewing location. Children and Babes-in-Arms All patrons, including children, must have a ticket for the performance. All children must be seated next to an accompanying adult. Young children should be able to sit quietly throughout the performance. If unable to do so, children and their accompanying adult will be asked to leave the auditorium. Babes-in-arms will not be admitted. Patron Services Located in the Lower Lobby, the following services are available: coat and parcel check, booster seats, back supports, infrared hearing-assistive devices and rental of binoculars, on a first-come, first-served basis. Medical Emergencies and First Aid A house doctor is present at all performances. Please contact an usher if medical services are required. Lost and Found During performances please speak with an usher or visit Patron Services at the Coat Check in the Lower Lobby. Following performances, all lost and found items will be stored at the security desk at Stage Door. Please call 416-363-6671 for information.

Canadian Opera Company 2013/2014 Season

Ticket Services Canadian Opera Company subscriptions and individual tickets are available through COC Ticket Services ONLINE: coc.ca BY PHONE: 416-363-8231 or long distance 1-800-250-4653 Monday to Friday – 10 a.m. to 6 p.m. Saturday – 10 a.m. to 4 p.m. IN PERSON: Four Seasons Centre Box Office 145 Queen St. W. Monday to Saturday – 11 a.m. to 6 p.m. or through first intermission Sunday (performance days only) – 11 a.m. to 3 p.m. or through first intermission The Four Seasons Centre for the Performing Arts Box Office also services ticketing needs for The National Ballet of Canada and all other Four Seasons Centre events. Group Sales Groups of 10 or more enjoy savings on regular individual ticket prices. For more information or to reserve seats call 416-306-2356. Parking There is parking on a first-come, first-served basis for about 200 vehicles underneath the Four Seasons Centre. The entrance is located on the west side of York Street, south of Queen Street. Additional parking is conveniently located just steps away in the Green P lot underneath Nathan Phillips Square. For directions visit greenp.com. Four Seasons Centre Facility Tours Tours of the Four Seasons Centre now include backstage access! For more information, visit fourseasonscentre.ca. BMO Financial Group Pre-Performance Opera Chats The Canadian Opera Company Volunteer Speakers Bureau offers free, insightful chats about the stories, music and background of all COC performances, 45 minutes prior to each performance in the Richard Bradshaw Amphitheatre. Food and Beverage Service A pre-order system for intermission refreshments is available at all bars throughout the Isadore and Rosalie Sharp City Room. Food and beverages are not permitted in R. Fraser Elliott Hall. Special Events and Catering The Four Seasons Centre is available for rental for all of your presentation, meeting or special events needs, with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit fourseasonscentre.ca or call 416-363-6671. The Opera Shop Located on the orchestra level of the Isadore and Rosalie Sharpe City Room, the COC's Opera Shop offers a fine selection of opera recordings on CD and DVD, as well as opera-related books, giftware and COC souvenirs.

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