Orfeo ed Euridice 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 2011

Orfeo ed Euridice

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CONTENTS 6

MASTER OF SUBLIME BY PATRICK SUMMERS

BATHING IN STRAUSS BY SUZANNE VANSTONE

NIGHTINGALE SOARS AT BAM

THE OPERA OF UNANSWERED CRIES BY MAX LOPPERT

The Canadian Opera Company presents Cinderella. Joyce DiDonato as Cenerentola and Patrick Carfizzi as Don Magnifico in the Houston Grand Opera production, 2007. Photo: Brett Coomer

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

Spring 2011

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

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

MASTER OF SUBLIME BY PATRICK SUMMERS

n that most quotable of movies, Casablanca, no one says, “Play it again, Sam.” Ingrid Bergman, as Ilsa, says, “Play it once, Sam, for old times’ sake.” But the phrase benignly sits in our lexicon: we want, as time goes by, our legends to be true. The Italian composer Gioacchino Rossini (1792 – 1868) is surrounded by lore. Thanks to the legends of his time, we picture the rotund and jolly young retiree in mid19th-century Paris, the reliable dispenser of bon mots (he thought Wagner’s operas had “beautiful moments but awful quarter hours”) who happily ate his weight in tournedos

Canadian Opera Company 2010/2011 Season

Rossini as the cultured of Europe stopped by his salon to pay him homage. We don’t know why he wrote the last of his 39 operas at the age of 37. But we do know that he feared being remembered merely as the composer of “the third act of Otello and The Barber of Seville.” And, indeed, it wasn’t until a late-20th-century renaissance that Rossini’s grand and revered reputation was fully restored. Why was Rossini considered a lesser musical figure for about a century after his death? Fashions come and go, of course, and Rossini wrote in a particularly florid vocal style that linked the late-Classical era to the Romantic, but which, in the mid-to-late 19th century, came to be considered old-fashioned. His serious works largely faded from the stage. In the mid-20th century, Rossini’s music was heard in cartoons and on television shows, most famously for The Lone Ranger, which used the finale of the William Tell Overture as its theme. Rossini’s operas, meanwhile, were singer-dominated “star” vehicles, often with delicately lean accompaniment figures considered by some (even now, sadly) to be intellectually suspect in their simplicity.

But, of course, music is not automatically bettered by being more complex. A close look at Rossini’s orchestral writing reveals a marvellously inventive musical mind, full of complicated and transparent simplicity. Rossini was a master of sparkling orchestral virtuosity and elegant economy. And he expected orchestral virtuosity from the singing voice: his vocal lines are limpid, wide-ranging, and highly florid, like singing clarinets and horns. One moment he asks a singer to spin a long and rhythmically pliant phrase only to follow it with a fiendishly difficult passage work. Performing his arias can feel, to singers, like singing an instrumental concerto. In addition to the written demands of the page, Rossini composed – like Handel and Mozart, the operatic masters who came before him – with an expectation that a star singer would “decorate” his music, much like jazz singers of our own time personalize their interpretations of famous songs and make them their own. How does a singer “decorate” a Rossini aria? Think of an aria as a house and Rossini as the architect. He has laid the floor plan and selected the paint colours. It is left to the taste of the interpreters to finish the décor, to add the personal touches that make the room unique. Thus no two performances are alike. But the point is to decorate, not remodel. Taste is everything: Rossini left hundreds of examples of vocal ornamentation he considered proper and/or stylish for his music. He wrote, for example, four alternate sets of ornaments for the finale of La donna del lago (The Lady of the Lake), written for Opposite page: The COC presents Cinderella. (l – r) Tamara Wilson as Clorinda, Earle Patriarco as Dandini, and Catherine Cook as Tisbe in the Houston Grand Opera production, 2007. Left: Nikolai Didenko (centre) as Alidoro. Photos: Brett Coomer

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

The COC presents Cinderella. (Foreground, l – r) Lawrence Brownlee as Don Ramiro, Earle Patriarco as Dandini; (background, l – r) Catherine Cook as Tisbe, Patrick Carfizzi as Don Magnifico, and Tamara Wilson as Clorinda in the Houston Grand Opera production, 2007. Photo: Brett Coomer

four different sopranos; they are fantastically inventive and much bolder than what many conductors and singers would try in Rossini today. Rossini’s ornamental style has a unique tint; a musical language that, once recognized, is unmistakable. It crackles. And he let it be known if one decorated too far: in the early 1860s, the celebrated soprano Adelina Patti sang a Rossini aria for the maestro. Her highly decorative ornaments prompted his famous retort, “It’s a lovely aria – who wrote it?” “Who wrote it?” begs the question of why he wrote the way he did. Vocal ornamentation is expected to heighten the expressiveness of a given phrase, to surprise the ear and keep the music fresh with each new singer. The resurgence of many of Rossini’s serious operas has positively influenced our current generation of singers, who are schooled and gifted in the demands of this music – as a result, Rossini’s grand musical thoughts,

Canadian Opera Company 2010/2011 Season

particularly in so touching and humourous a work as La Cenerentola, are being discovered anew by modern audiences. Rossini’s music, ebullient and friendly, recalls the remarkable era of Parisian musical history over which he reigned. The three children of Manuel García, who was Rossini’s first Almaviva in The Barber of Seville, were all indelibly linked to Rossini: Manuel the younger invented the laryngoscope and became a celebrated vocal pedagogue, training Jenny Lind and Mathilde Marchesi, the latter of whose published vocal exercises remain one of the most important links to Rossini and should be studied by every young singer. Manuel’s sisters, Maria Malibran and Pauline Viardot-García, were legendary singers who inspired some of the greatest composers of their day, particularly Berlioz, Saint-Saëns, Meyerbeer, and Chopin, whose piano music was highly influenced by the decorative vocal style of bel canto opera.

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CINDERELLA: Master of Sublime

Did Rossini, as a major part of his legend suggests, simply make enough money and decide to stop writing after William Tell? Or was he just aesthetically linked more to the past than to the future? We’ll never know, of course. Listening to the glowing humanity of La Cenerentola’s gossamer finale, or the sunburst which closes the final moments of his William Tell, we feel perhaps a wistful look back at the noble finales of Mozart and Gluck, the world into which Rossini was born and which he outlived. But we also hear the future: Wagner, Berlioz, and perhaps even Mahler’s vocal music. But enjoyment of Rossini needs no academic credentials: the relevance of a work like Cenerentola is its reassuring glimpse of sameness. We share, across

time, stories, music, and emotions. Rossini’s lighthearted legend, that of the ultimate bon vivant, will undoubtedly endure, but his own words pierce that surface. “Music is a sublime art,” he said, “precisely because, unable to imitate reality, it rises above ordinary nature into an ideal world, and with celestial harmony moves the earthly passions.” Play it again and again and again, Sam. Patrick Summers is the music director of Houston Grand Opera. This article originated with Houston Grand Opera, 2007, reprinted with permission.

For further insights into Cinderella, please read Ramón Jacques’ article on the directing team of Els Comediants in the spring issue of Prelude, available online at coc.ca.

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Canadian Opera Company 2010/2011 Season

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ADRIANNE PIECZONKA:

BATHING IN STRAUSS BY SUZANNE VANSTONE

Adrianne Pieczonka

Canadian Opera Company 2010/2011 Season

caught renowned Canadian soprano Adrianne Pieczonka just before she left for Berlin to perform Desdemona with the Deutsche Oper Berlin, before arriving in Toronto to sing the title role in Ariadne auf Naxos with the COC. “Quite a change of pace – Verdi to Strauss,” she laughs. Adrianne is no stranger to Ariadne. This is approximately the sixth production that she has performed in and, until now, all have taken place in Europe: from a very traditional 35-year-old production in Vienna, to a couple in Spain – Bilbao and Barcelona – and a recent one in Munich with Canadian director Robert Carsen, which was one of her favourites. Robert also joins us this spring to direct Orfeo ed Euridice. The COC has not performed Ariadne since 1995 and it contains some of Strauss’s most sublime music. In this opera-withinan-opera, where opera seria and commedia dell’arte become strange bedfellows, the audience is privy to backstage melodrama as well as onstage expressions of heartbreak, love and transcendence. We look forward to welcoming a stellar cast for this production. Adrianne says, “In fact I just sang Ariadne in Munich with Alice Coote and Jane Archibald a couple of months ago, and they’re wonderful.” Ms Coote and

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ADRIANNE PIECZONKA: Bathing in Strauss

Canadian Ms Archibald perform in this COC production as the Composer and Zerbinetta respectively. “It’s going to be great. I’ve worked with Alice a couple times and she is such a world-class artist, and I think Canadians are in for a real treat. I hadn’t sung with Jane before, but it was a joy. Not only is she a wonderful artist but she takes everything in her stride and is so even-keeled.” When I mention to Adrianne that Robert Carsen will be with us this spring, she exclaims, “Yay, Canada! And then, of course, there’s Richard Margison as Bacchus. I’ve not sung Ariadne with him before and I’m looking forward to it. And a lot of the other cast members are also Canadians. Very exciting – we should all be so proud!” Why has this particular role become so dear to her? “Ariadne is a beloved role. First of all, I’m such a huge admirer and lover of Strauss – I think he wrote so well for my particular type of voice. It always feels like I’m taking a lovely bath in these long beautifully-spun phrases. Zerbinetta gets all the fireworks, and often she can ‘clean up’ and get thunderous applause after her aria. I have an aria in the second act, but it’s not a showstopper, the action continues on and there’s no applause – it’s the way it’s composed. But I think what really does speak to me is the text. It’s that marriage of Hofmannsthal [librettist] and Strauss. It’s a dream team that I just adore. I love singing the text. “I speak the language fluently as I’ve lived and worked in Germany and Austria long enough that it really feels like a part of me. And I know the nuances. Ariadne is not like a lot of Strauss heroines. It’s not a showy, diva-like role. She’s very introspective. She, of course, is in the second part of the opera. Bereft on this island, she does a lot of languishing. And yet there is much self-

Canadian Opera Company 2010/2011 Season

The COC presents Ariadne auf Naxos. Peter Hoare as Bacchus and Janice Watson as Ariadne in the Welsh National Opera production, 2004. Photo: Clive Barda

reflection and, maybe as I’m getting older, this appeals to me more. But I don’t find it dull – the music is absolutely glorious. And then we finally have the entrance of Bacchus. Although he isn’t on until the very end of the opera, his music is terribly difficult. That amazing love duet that he and Ariadne have – it’s almost on another plane. Is it reality? Is it magic? It is very metaphysical and extremely beautiful.” Interestingly, Adrianne’s connection with Ariadne began long before she started singing the title role. Although her official operatic debut was at the COC in Lady Macbeth of Mtsensk in 1988, her first larger role was as Naiad in Vancouver. “Jean Stilwell was Dryad, Martha Collins was Echo and Judy Forst was the Composer.” She laughs, “I don’t think I have those high Ds anymore, but Naiad was my first main role and I remember it very fondly.” Ariadne is not the only Strauss opera that Adrianne has performed in. She made her debut in Vienna at the Staatsoper as the Fifth Maiden in Elektra. “I was pretty

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The COC presents Ariadne auf Naxos. A scene from the Welsh National Opera production, 2004. Photo: Clive Barda

green. It was in 1991 and starred Hildegard Behrens and Christa Ludwig, which was incredible. The Fifth Maiden is a small but important role, and she has a little mini-aria where she kneels down and grabs the knees of Elektra. I was grabbing Hildegard Behrens’ knees! That was pretty amazing.” She then performed it with Claudio Abbado conducting in Florence. Following that she sang Arabella in 1995 at Glyndebourne, a role she has since performed numerous times. She continues, “There is the Marschallin in Der Rosenkavalier, which I’ve performed a lot and loved. Then Ariadne, and then the Empress in Die Frau ohne Schatten, which is not a well-known opera but very beautiful and I’ve been asked to sing that quite a few times. It, too, is a challenging role. She has a high D in Act I and by Act III it is similar to an Isolde-like monologue – very big and dramatic. I am also looking forward to Chrysothemis (Elektra) in a new production by Patrice Chéreau at Festival d’Aix en Provence. “Strauss has accompanied me everywhere – he really has. And maybe it’s because I started in Europe and Vienna where of course there are so many more opportunities to sing this repertoire. The only roles I haven’t done are Elektra, and I don’t think I’d do that one. Salome might be an option – it’s short, quite high and dramatic.” Director Neil Armfield returns to the

COC having directed Billy Budd and A Midsummer Night’s Dream. Adrianne looks forward to his “take” on the opera. She has not worked with him before nor with renowned conductor Sir Andrew Davis. “Sir Andrew is known as a Strauss specialist, and is in New York doing Capriccio with Renée Fleming. I’ve never done that role on stage, but I’ve recorded the big monologue scene. I can’t wait to work with him – what a wonderful conductor. “It’s interesting – Ariadne is a sort of chamber opera, in that the orchestra’s reduced in size, but they make a sizeable sound. For the players in Europe, it’s their real bread and butter, it’s such a tradition. It’s in their blood and is usually played a couple times a year, so it’s very accessible. I am sure the COC will rise to the occasion and play it wonderfully. There is a harmonium and a celeste which are different and fun for the orchestra members. It also has beautiful solos for the violin, cello, etc. It’s challenging, gorgeous music and what a wonderful team we have to perform it!”

Suzanne Vanstone is Senior Communications Manager, Editorial at the Canadian Opera Company. For further insights into Ariadne auf Naxos please read Gianmarco Segato’s interview with Jane Archibald in the spring issue of Prelude.

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ORFEO ED EURIDICE Christoph Willibald Gluck Opera in Three Acts Libretto by Raniero deâ&#x20AC;&#x2122; Calzabigi Edited for the Gluck Completer Edition by Anna Amalie Abert and Ludwig Finscher Used by arrangement with European American Music Distributors LLC, sole U.S. and Canadian agent for Baerenreiter, publisher and copyright owner

First Performance Burgtheater, Vienna, October 5, 1762 COC Premiere Production of Lyric Opera of Chicago May 8, 11, 14, 17, 20, 24, 26, 28, 2011 Four Seasons Centre for the Performing Arts, Toronto Sung in Italian with English SURTITLESTM

The CasT (in order of vocal appearance)

Orfeo Amore Euridice Conductor: Director: Associate Director: Set & Costume Designer: Lighting Designers: Chorus Master: Stage Manager: SURTITLESTM Producer:

Lawrence Zazzo Ambur Braid Isabel Bayrakdarian Harry Bicket Robert Carsen Christophe Gayral Tobias Hoheisel Robert Carsen/Peter Van Praet Sandra Horst Stephanie Marrs Gunta Dreifelds

Performance time is approximately 90 minutes with no intermission. This production of Orfeo ed Euridice is owned by the Lyric Opera of Chicago and was made possible by generous gifts from An Anonymous Donor, The Elizabeth Morse Genius Charitable Trust/The Elizabeth Morse Charitable Trust, Stephen A. Kaplan and Alyce K. Sigler, Sidley Austin LLP, and Howard A. Stotler with additional funding by AT&T. Set constructed by Hawkeye Scenic Studios, Chicago, IL; Costumes constructed by Bristol Costumes, Bristol, United Kingdom.

This production of Orfeo ed Euridice is being recorded for future broadcast on CBC Radio Two (94.1 FM in Toronto) on Saturday Afternoon at the Opera. Program information is correct at time of printing. All casting is subject to change.

Please visit coc.ca for additional information

DIRECTOR’S NOTES

DIRECTOR’S NOTES Orfeo ed Euridice

hen Gluck began composing Orfeo ed Euridice in 1762, he had already made a conscious decision to attempt a reform of contemporary opera and its performance style. He was convinced that the essence of the art form was being lost in extraneous musical and production values which had corrupted the genre of opera seria, and Gluck was even more unhappy with the excessive vocal ornamentation so fashionable with star singers who rivalled each other in technical display. Gluck decided it was time for opera to return to the basics, which meant a return to a simple and direct expression of essential human emotion. It was equally clear to him that the essence of this could be found primarily in the Greek theatre and Mythology. Orfeo ed Euridice became the first of Gluck’s celebrated “reform” operas, all of which are based in some form or other on classical works. Among the titles which followed are: Paride ed Elena, Iphigénie en Aulide, Alceste, Iphigénie en Tauride, and Armide. Gluck later adapted Orfeo ed Euridice into French when he was Court composer to Louis XVI and MarieAntoinette (whom he had taught as a young girl in Vienna). Orphée et Eurydice however, was a rather different affair than the original version. More complex and less pure, it was also considerably longer (mostly due to the addition of ballet music, in the tradition of the French opera-ballet). The version which we are performing is the original Vienna version, sung in Italian. There is nothing which can compare to it for the simplicity of its construction or the directness of its emotional impact. The Orpheus myth in this version is reduced to only three characters: Orfeo, Euridice 2

Canadian Opera Company 2010/2011 Season

and the young God Amore. In addition there is the important involvement of the Chorus, who in Act I and Act III are present as Orfeo’s friends, and in Act II alternate as the Furies who inhabit Hades, and the Spirits of Elysium. As has often been stated, opera’s main terrain is that of Eros and Thanatos (Love and Death). The Orpheus myth, particularly in Gluck and Calzabigi’s retelling, combines the two in a particularly effective way. Which of us has not longed to breach the mystery of Death and bring a loved one back to Life? Orfeo manages it, albeit through the Godly intervention of Amore. But Amore can also be seen as his Subconscious or even his Unconscious, willing him to move through his grief to take action. However it is the frailty of Orfeo’s humanity which causes him to break the condition laid upon him (that he not look at Euridice while bringing her back from the Underworld). And it is this essential human quality which makes the work and the character so touching. Euridice, as Orfeo rightly anticipates, is unable to prevent herself from giving way to doubts and fears that her husband no longer loves her, since he refuses to look at her. The audience knows that Orfeo has risked all for love of his wife and that no man’s love could be greater than his. But Euridice’s perspective is also entirely understandable, and their great scene in Act III is a brilliant exposition of how difficult it can be to communicate with the person one loves most. Orfeo fails, but he fails for the same reason he deserves to succeed: for love. And that is why, in spite of his failure, Amore appears to him again and rewards him a second time.

DIRECTOR’S NOTES

The COC presents Orfeo ed Euridice. Isabel Bayrakdarian as Euridice in the Lyric Opera of Chicago production, 2006. Photo: Dan Rest

When we first worked on this production for the Lyric Opera of Chicago in 2006, the designer Tobias Hoheisel and I decided to try and create a physical world using as little as possible, as a kind of response to the extraordinary economy of Gluck’s opera. We also decided to present the work using only the singers and chorus in the cast, without the addition of dancers. (My feeling at the time was that Orfeo ed Euridice should either be entirely danced – as Pina Bausch did so brilliantly in her 1975 production of the French version of the opera – or not have any dance at all, has not changed). Please visit coc.ca for additional information

In any case, Gluck’s opera appears to a 21st-century audience as radiantly modern: modern in construction, modern in psychology, and modern by what it leaves unsaid as well as by what it says. This great work which gives life to one of the Western world’s most important mythologies, deserves to be interpreted, reinterpreted and seen again and again. I am very happy to have been entrusted with the Canadian Opera Company’s first staging of this opera or indeed any opera by Gluck. Robert Carsen

SYNOPSIS

SYNOPSIS ACT I By Euridice’s grave Orfeo and his friends are grieving for Euridice. Left alone, Orfeo appeals to his beloved to return, and then to the Gods to grant mercy for his overwhelming grief, but his entreaties go unanswered. Finally grief turns to resolve and Orfeo curses the fates. He is determined to find Euridice, even if it means facing death himself to reach her. Amore appears to help Orfeo, telling him that Jupiter feels pity for his grief. If Orfeo can cross through the Underworld alive and calm the Furies with his singing, he will be able to find Euridice and return to Earth with her. There is one condition: he cannot look at his wife until they have returned to Earth, nor can he tell her of this condition. If he breaks it, he will lose her forever. Orfeo is unnerved and apprehensive about how the unsuspecting Euridice will react when they are reunited. But he accepts the Gods’ challenge and asks for their help as he descends into the Underworld. ACT II Hades When Orfeo appears, the Furies angrily wonder how a mortal could dare to attempt to pass through the Underworld. Orfeo begs them to feel pity for him, explaining that had they suffered for love as he has suffered, they would not be so indifferent. The Furies are calmed by Orfeo, and allow him to pass from Hades to Elysium.

Canadian Opera Company 2010/2011 Season

The Elysian Fields Orfeo is moved by the calm, serenity and beauty of Elysium. However he feels that he will only share in its joys when he is reunited with Euridice. Eventually she is brought to him. Orfeo is impatient to leave: without looking at her, he takes her hand and starts to lead her back to Earth. ACT III The return to Earth Orfeo urges Euridice to follow him. She wonders how she can be alive. Orfeo replies that she will soon know more, but begs her to ask no more questions. Surprised that he refuses to embrace her, Euridice wonders if she is no longer beautiful. She implores Orfeo to turn around and look at her but he refuses. Plagued by doubts, Euridice confesses that she would rather die than live with an Orfeo who no longer loves her. Feeling faint, she collapses. Orfeo can no longer bear it: he turns around to help his wife, and she dies instantly. Overwhelmed with grief, Orfeo is about to kill himself again, when Amore once more prevents him. Declaring that he has suffered enough, Amore brings Euridice back to life. Orfeo embraces her ecstatically. Orfeo, Euridice and their friends celebrate Love, which they declare is able to conquer all cruelty and doubt.

N.B. Performance time is approximately 90 minutes with no intermission.

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Anne Larlee Steven Philcox (Head Coach) iTalian lanGuaGe CoaCh

Manuela Scarci assisTanT ConduCToR

Steven Philcox assisTanT diReCToR

Joel Ivany assisTanT sTaGe ManaGeRs

Gerry Egan Michael Lewandowski liGhTinG Co-oRdinaToR

Wendy Greenwood assisTanT liGhTinG desiGneRs

Jason Golinsky Jason Hand aCToRs

Logan Brown Jay Davis Matthew Nette Philip Stonhouse Michael Sumbler Robert Tsonos Robert Yeretch undeRsTudies

Orfeo Amore Euridice

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David Trudgen Simone Osborne Jacqueline Woodley

One-of-a-kind jewellery, sparkling stationery, musical gems, and so much more at the Opera Shop! Visit us on the main floor of the Isadore and Rosalie Sharp City Room, open before, during and (sometimes) after all performances.

Jewellery trunk shows Nancy Ciccone: Sunday, May 8 (Mother’s Day) P. J. Bundy: Saturday, May 28 and Sunday, May 29

This spring we recommend the following recordings from Universal Classics: Orfeo ed Euridice The 1762 Vienna version of the score sung in Italian, with celebrated countertenor Derek Lee Ragin as Orfeo. A recording hailed by Gramophone magazine as “a total interpretation of the work, more penetrating than any other in the catalogue.” John Eliot Gardiner, conductor; English Baroque Soloists; Monteverdi Choir. With Derek Lee Ragin, Sylvia McNair, Cyndia Sieden, Decca, 2 CDs, $22.75 including tax.

Ariadne auf Naxos A classic recording now offered at budget price. Levine has always held this score close to his heart and the cast features two of the great 20th-century exponents of their roles: Anna Tomowa-Sintow’s regal Ariadne and Kathleen Battle’s spectacular Zerbinetta. James Levine, conductor; Vienna Philharmonic Orchestra. With Anna Tomowa-Sintow, Agnes Baltsa, Kathleen Battle, Gary Lakes, Hermann Prey, Deutsche Grammophon, 2 CDs, $22.75 including tax.

La Cenerentola Two of today’s most celebrated Rossini singers in the very same strikingly colourful, storybook production appearing onstage at the COC this spring! Patrick Summers, conductor; Gran Teatre Del Liceu Orchestra and Chorus. With Joyce DiDonato and Juan Diego Florez, Decca, 2 DVDs, $56.50 including tax.

Shop for much more at the Opera Shop or at coc.ca! The Opera Shop is a project of the Canadian Opera Company, in partnership with L’Atelier Grigorian and Decca – The Opera Label. All proceeds support the Canadian Opera Company.

Canadian Opera Company 2010/2011 Season

Earrings by Nancy Ciccone

Bring in the Bling this Spring!

ARTISTS’ BIOGRAPHIES ISABEL BAYRAKDARIAN euridice

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

Toronto-based soprano Ambur Braid is a new member of the COC Ensemble Studio. She recently appeared as the Queen of the Night in the Ensemble Studio performance of The Magic Flute and the Danish Lady in Death in Venice. She holds her bachelor of music degree

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from The Glenn Gould School of The Royal Conservatory of Music and her master of music from the San Francisco Conservatory of Music. Ms Braid has performed the role of Diane in Iphigénie en Tauride with Opera Atelier; Konstanze in Die Entführung aus dem Serail, the Queen of the Night in Die Zauberflöte, Princess/Fire in L’enfant et les sortilèges and Peaseblossom in A Midsummer Night’s Dream with the San Francisco Conservatory; and, Hippolyta in A Midsummer Night’s Dream with The Glenn Gould School. Ms Braid has won the East Bay Opera Competition, the San Francisco Conservatory Concerto Competition, and the Palm Beach Opera Competition. With the COC this season Ms Braid understudies roles in Cinderella and Ariadne auf Naxos. LAWRENCE ZAZZO orfeo

American countertenor Lawrence Zazzo previously appeared with the COC as Oberon in A Midsummer Night’s Dream. Mr. Zazzo’s repertoire includes Gualtiero in Scarlatti’s La Griselda, Arsamene in Serse, Ottone in Agrippina, Ottone in L’Incoronazione di Poppea, Endimione in La Calisto, Mascha in Eötvös’ Three Sisters, Didymus in Theodora, the Refugee in Dove’s Flight, and Sciarrino’s Luci mie Traditrici. Concert and recital credits include engagements with René Jacobs, William Christie, James Conlon, Ivor Bolton, John Nelson and Joshua Rifkin at venues including the Leipzig Bach, Edinburgh, Cincinnati May and Innsbruck festivals, and the Vienna Konzerthaus. Mr. Zazzo’s discography includes Byrdland, Rinaldo, Griselda, Saul, Messiah, Serse,

ARTISTS’ BIOGRAPHIES

Lunarcy, Partenope, Riccardo Primo and Duetti amorosi. Recent highlights include: Giulio Cesare at the Palais Garnier and the Met, Endimione at Royal Opera House Covent Garden and Théâtre des ChampsElysées, Ottone in Vienna and the title role in Radamisto at English National Opera. Future engagements include his role debut as Farnace in Mitridate in Munich.

HARRY BICKET Conductor

British conductor Harry Bicket’s previous COC credits include Idomeneo and Rodelinda. Recent engagements include Hercules with Lyric Opera of Chicago, Orfeo ed Euridice with Minnesota Opera, concerts with the Chicago Symphony Orchestra and extensive concert and touring projects with the English Concert, of which he is the artistic director. He captured international attention in 1996 with Handel’s Theodora at Glyndebourne Festival, and returned in 1999 and 2003. Mr. Bicket made his U.S. operatic debut in 1997, and has since conducted Rinaldo with New York City Opera, Agrippina with Glimmerglass Opera and Giulio Cesare with Los Angeles Opera. In 2003 he made two debuts, one at Lyric Opera of Chicago conducting Partenope, the other at Royal Opera House Covent Garden conducting Orlando, for which he received an Olivier Award nomination for Best New Opera Production. He made his Metropolitan Opera debut in 2004 with Rodelinda, returning for La clemenza di Tito and Giulio Cesare. Future engagements include return visits to Bordeaux Opera, Lyric Opera of Chicago and the Met.

Canadian Opera Company 2010/2011 Season

ROBERT CARSEN director/lighting designer

Canadian director Robert Carsen last appeared with the COC for Mario and the Magician in 1992. He trained as an actor in Toronto and the U.K., and his work has led to many acclaimed international theatre and opera productions. Select operatic credits include: Dialogues des Carmélites at La Scala; Eugene Onegin and Mefistofele at the Met; Der Rosenkavalier at Salzburg Festival; La Traviata for the reopening of La Fenice; A Midsummer Night’s Dream, Die Zauberflöte, Semele for Festival d’Aix en Provence; Ariadne auf Naxos in Munich; Tannhäuser, Capriccio, Les Boréades, Rusalka, Alcina and Les contes d’Hoffmann for Opéra national de Paris; Die Frau ohne Schatten for Vienna State Opera; Fidelio and Carmen for De Nederlandse Opera; Der Ring des Nibelungen for Cologne Opera; Il Trovatore at the Bregenz Festival; a Puccini cycle for the Flemish Opera; and, Mitridate in Brussels. He was recently artistic director and designer for two exhibitions in Paris: Marie Antoinette at the Grand Palais and Charles Garnier at the École des Beaux Arts. Future plans include Rinaldo for Glyndebourne Festival, The Turn of the Screw (director/designer) in Vienna, and Don Giovanni to open the 2011/2012 season at La Scala. CHRISTOPHE GAYRAL associate director

Christophe Gayral makes his COC debut with this production. Mr. Gayral studied as an actor at the Rue Blanche in Paris. His work as assistant director with Robert Carsen includes Les Boréades, Alcina, Le nozze di Figaro, La Traviata,

ARTISTS’ BIOGRAPHIES

Iphigénie en Tauride, Richard III, Candide, Armide and L’Incoronazione di Poppea. Credits with Philippe Sireuil include La Favorite, Così fan tutte; Pelléas et Mélisande; Le nozze di Figaro and Rigoletto. He assisted Muriel Téodori on the world premiere of Welcome to the Voice for Théâtre du Châtelet with Sting and Elvis Costello. Mr. Gayral co-wrote Le Grand Carrousel, an equestrian opera, for Brussels. He wrote and directed Jai mata di, an Indo-French co-production. He has trained many young singers, particularly in Belgium, directing them in L’enfant et les sortilèges, The Telephone and La serva padrona. For the Alden Biesen Festival in Belgium, Mr. Garyral directed Die lustigen Weiber von Windsor and the world premiere of La Fable de Ooh et Aah by Andrew Wise. In 2010, he directed Il matrimonio segreto for the Opéra national du Rhin, which will be revived this December in Rennes.

Photo: Clive Barda

TOBIAS HOHEISEL set and Costume designer

German designer Tobias Hoheisel makes his COC debut with this production. Mr. Hoheisel was born in Frankfurt and trained at the Hochschule der Künste, Berlin. Notable opera engagements include Die Meistersinger von Nürnberg at Oper Koln; Kát’a Kabanová, Jen˚ufa, The Makropulos Case, Death in Venice and The Bartered Bride at Glyndebourne Festival Opera; Der Freischütz and Griselda with Deutsche Staatsoper; Idomeneo and Fedora at Vienna Staatsoper; Lohengrin, Il Trittico and Ariadne auf Naxos at Théâtre de la Monnaie; Don Carlo and Alcina with Opéra national de Paris; Les Troyens in Munich; Iphigénie en Tauride at Lyric Opera of Chicago; Palestrina and Boulevard Solitude at Royal Opera House Covent

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Garden; and, La Bohème and Boris Godunov with English National Opera. He has also designed productions for Glimmerglass Opera, Santa Fe Opera, Die Schaubühne, Burgtheater, Royal Shakespeare Company, Royal Court, Almeida and Royal National Theatre as well as for the Drottningholm, Wiener, Edinburgh International and Aldeburgh festivals. His directing credits with Imogen Kogge include The Two Widows for Scottish Opera and Ariodante, Madama Butterfly and Die Entführung aus dem Serail for Nationale Reisopera. PETER VAN PRAET lighting designer

Peter Van Praet makes his COC debut with this production. He began his career as the manager of the technical lighting department of Flemish Opera in Belgium. Mr. Van Praet has worked as the lighting designer on many productions by Robert Carsen, including Jen˚ufa, The Cunning Little Vixen, Kát’a Kabanová and Richard III at Flemish Opera; Rusalka and Capriccio in Paris; Fidelio in Amsterdam and Florence; Les Boréades in Paris and New York; Tosca at Gran Teatre del Liceu; Der Rosenkavalier in Salzburg; La Traviata at La Fenice; Elektra in Tokyo; A Midsummer Night’s Dream in Barcelona; and, Iphigénie en Tauride at Lyric Opera of Chicago. Credits with director Pierre Audi include Les Troyens, Alcina and Zoroastre. Recent projects include Grand Macabre in Buenos Aires with La Fura dels Baus, Orlando Furioso at Théâtre des Champs-Elysées with Pierre Audi and The Makropulos Case with Robert Carsen at Opera national du Rhin. Future plans include Rinaldo and The Turn of the Screw with Robert Carsen, Oedipe with La Fura dels Baus and Iphigenia in Tauris at the COC.

ARTISTS’ BIOGRAPHIES

SANDRA HORST Chorus Master

Chorus master Sandra Horst’s recent credits include The Magic Flute, Nixon in China, Aida and Death in Venice for the COC and The Marriage of Figaro, Eugene Onegin and The Golden Ticket for Opera Theatre of St. Louis. As director of musical studies for the University of Toronto’s Opera Division, she has most recently conducted Hansel and Gretel, as well as productions of L’enfant et les sortilèges, L’heure espagnole, L’elisir d’amore, Die Fledermaus, Die lustigen Weiber von Windsor, Gianni Schicchi, and John Beckwith’s Taptoo! Ms Horst conducted Il viaggio a Reims for the COC, has been chorus master of Edmonton Opera, served as a judge for the Metropolitan Opera National Council auditions and has been on the music staff of the Juilliard Opera Center, Chautauqua Institute, Boston Lyric Opera, Edmonton Opera, Banff Centre for the Arts, Opera Ontario and Opera Saskatchewan. This spring she is also the chorus master for Cinderella. STEPHANIE MARRS stage Manager

Stephanie Marrs has worked with the COC since 1991 and recently stage managed The Magic Flute and Death in Venice. She was one of the stage managers for the Inaugural Gala Concerts for the FSCPA*, and has stage managed such productions as Idomeneo, Madama Butterfly, Così fan tutte, Simon Boccanegra, Rusalka, Don Giovanni, Pelléas et Mélisande, Elektra, Siegfried as part of the complete Ring Cycle, Norma, Rodelinda, Tancredi, Lucia di Lammermoor, Rigoletto, Tosca, Albert Herring, Giasone and Giulio Cesare. She

Canadian Opera Company 2010/2011 Season

also has stage managed for Nightwood Theatre, Crow’s Theatre, Opera York, Opera Atelier, the Canadian Children’s Opera Company, the Port Hope Festival Theatre and Gryphon Theatre. As an assistant stage manager, COC credits include: Carmen, From the House of the Dead, Faust, Così fan tutte, The Turn of the Screw, Venus and Adonis, Bluebeard’s Castle/Erwartung, La Traviata, and Jen˚ufa. Ms Marrs has also worked for Opéra national de Lyon, Edmonton Opera, Opera Lyra Ottawa, Canadian Stage, the Luminato Festival and the Just for Laughs Toronto Festival. STEVEN PHILCOX assistant Conductor

Former COC Ensemble Studio member Steven Philcox’s previous COC credits include assistant conductor of Idomeneo, conductor of the Ensemble Studio production of Così fan tutte and Gazzaniga’s Don Giovanni, the assistant conductor of Don Giovanni, The Barber of Seville and Così fan tutte, conductor of the Ensemble Studio production of The Bear, the Commissioning Concerts for the FSCPA*, and his conducting debut with Albert Herring in 2004. In 2006 he conducted the National Arts Centre Orchestra at the Governor General’s Awards in honour of Richard Bradshaw. In 2003, Mr. Philcox made his Alice Tully Hall debut at Lincoln Center in a recital with American tenor William Ferguson. Mr. Philcox has been heard in recital on national radio programs in Canada and the U.S. and has worked with many renowned singers including Richard Margison, Measha Brueggergosman and Isabel Bayrakdarian. He also serves as vocal coach, assistant conductor and répétiteur for the COC.

ARTISTS’ BIOGRAPHIES

JOEL IVANY assistant director

Stage director Joel Ivany’s COC credits include assistant director for La Bohème and auditing with Tim Albery for War and Peace. His directing credits include knotty together in Dublin, Ireland; Hänsel und Gretel in Edmonton; Haydn’s La Canterina in Sulmona, Italy; Copland’s The Tender Land; Kander and Ebb’s Cabaret; and, Mozart’s Die Zauberflöte. Mr. Ivany has directed for Opera Nuova, the Centre for Opera Studies, UofT Faculty of Music, University of Western Ontario, Wilfrid Laurier University and the New Ideas Festival. He was also the associate stage director for the UofT Opera School’s production of Handel’s Ariodante and apprenticed with Paul Curran on his production of Peter Grimes with Washington National Opera. Mr. Ivany has worked with directors such as Michael Patrick Albano, Jennifer Tarver and Joshua Major. He is a recipient of numerous scholarships and grants through such organizations as the Canada Arts Council and Theatre Ontario. He holds a music degree from the University of Western Ontario and an artist diploma in opera directing from the University of Toronto’s Opera School.

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.

*FSCPA – Four Seasons Centre for the Performing Arts

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CANADIAN OPERA COMPANY ORCHESTRA VIOLIN I Marie Bérard, Concertmaster, on leave of absence The Concertmaster’s chair has been endowed in perpetuity by Joey and Toby Tanenbaum Benjamin Bowman, Associate Concertmaster Diane Tait, Assistant Concertmaster Dominique Laplante, Acting Associate Concertmaster Anne Armstrong, Acting Assistant Concertmaster Sandra Baron Bethany Bergman Pamela Hinman Nancy Kershaw, on leave of absence Yakov Lerner Renée London Jayne Maddison Neria Mayer Aya Miyagawa VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal James Aylesworth Elizabeth Johnston Hiroko Kagawa

Louise Tardif Marianne Urke Joanna Zabrowarna VIOLA Nicolò Eugelmi, Principal, on leave of absence Francis Kefford, Acting Principal Joshua Greenlaw, Assistant Principal Nicholaos Papadakis Rhyll Peel Theresa Rudolph Koczó Beverley Spotton Yosef Tamir CELLO Bryan Epperson, Principal Alastiar Eng, Associate Principal Paul Widner, Assistant Principal Maurizio Baccante Olga Laktionova BASS Alan Molitz, Principal Robert Speer, Assistant Principal Tom Hazlitt Paul Langley, on leave of absence

OBOE Mark Rogers, Principal Lesley Young ENGLISH HORN Lesley Young Mark Rogers BASSOON Eric Hall, Principal Elizabeth Gowen HORN Joan Watson, Principal Gary Pattison TRUMPET Robert Grim, Principal Brendan Cassin TROMBONE Robert Ferguson, Principal Ian Cowie BASS TROMBONE Herbert Poole TIMPANI Michael Perry, Principal

BANDA VIOLINS Diane Tait Jayne Maddison VIOLA Yosef Tamir CELLO Olga Laktionova HARP Sanya Eng CLARINET Colleen Cook

LIBRARIAN Wayne Vogan ASSISTANT MUSIC LIBRARIAN Capella Sherwood STAGE LIBRARIAN Paul Langley PERSONNEL MANAGER Ian Cowie

HARPSICHORD Steven Philcox

FLUTE Douglas Stewart, Principal Shelley Brown

CANADIAN OPERA COMPANY CHORUS SOPRANOS Margaret Evans Alexandra LennoxPomeroy Ingrid Martin Eve Rachel McLeod Victoria Pinnington Jennifer Robinson Catherine Tait Teresa van der Hoeven

MEZZO-SOPRANOS Sandra Boyes Sonya Gosse Lilian Kilianski Anne McWatt Karen Olinyk Lisa Spain Vilma Indra Vitols Cindy Won

Canadian Opera Company 2010/2011 Season

TENORS Vanya Abrahams Craig Ashton Sasha Bataligin Stephen Bell Taras Chmil Sean Clark Stephen Erickson Nicolas Groenewegen John Kriter Jason Lamont James Leatch Stephen McClare

BARITONES/BASSES Grant Allert Kenneth Baker Peter Barnes Sung Chung Michael Downie Jason Nedecky Niculae Raiciu Bruce Schaef Michael Sproule Peter Wiens Marcus Wilson Gene Wu

BOARD OF DIRECTORS OFFICERS Mr. Paul B. Spafford, Chair Mr. Philip C. Deck, President Mr. Paul A. Bernards, Treasurer Mr. John H. Macfarlane, Secretary Mr. Alexander Neef, General Director (ex officio) Mr. Robert Lamb, Managing Director (ex officio) MEMBERS Mr. H. Anthony (Tony) Arrell Ms Nora Aufreiter Mr. Barry Avrich Mr. David Broadhurst Mr. Robert Brouwer Ms Marcia Lewis Brown

Mr. Stewart Burton Mr. George S. Dembroski Dr. Fayaz Dossa Mr. William Fearn (ex officio) Mr. David C. Ferguson Mr. David Forster Mr. Adam Froman Mr. John Gagliano Mr. Michael Gibbens Dr. Linda Hutcheon Ms Trinity Jackman Ms Pamela Jeffery Mr. Jeff Lloyd Mr. Stephen O. Marshall Ms Judy Matthews Mr. Geoffrey Matus Ms Marina McDougall (ex officio)

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

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

ARIAS: Canadian Student Opera Development Fund Arija Stiver, Chair Marina McDougall, President Arija Stiver, Past-President Lisa Teskey, Vice President/ Treasurer Francine Lewis, Secretary (ex officio)

CANADIAN OPERA FOUNDATION Mr. William Fearn, Chair Mr. Derek Brown Mr. J. Rob Collins Mr. Philip C. Deck (ex officio) Mr. David Forster Mr. George Hamilton, Treasurer Mr. Roy D. Hogg, FCA Hon. Dennis Lane Mr. Peter MacKenzie Ms Kathleen McLaughlin Mr. David E. Spiro, Secretary Mr. Edzo Wisman

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

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ADMINISTRATION AND STAFF ALEXANDER NEEF, General Director Managing Director Robert lamb Music Director Johannes debus EXECUTIVE OFFICE Executive Assistant to the General Director Marguerite schabas ARTISTIC ADMINISTRATION Artistic Administrator Roberto Mauro MUSIC Music Administrator sandra Gavinchuk Chorus Master sandra horst Music Librarian, Coach Wayne Vogan Head of the Ensemble Studio & Coach elizabeth upchurch Resident Conductor derek Bate Music Staff Rachel andrist susan Ball Jean desmarais albert Krywolt anne larlee Ben Malensek steven Philcox elizabeth Rowe felice Venanzoni Company Manager olwyn lewis Scheduling Manager Kathryn Garnett Administrative Assistant, Music Karen olinyk Archivist, Joan Baillie Archives Birthe Joergensen Orchestra Personnel Manager ian Cowie Assistant Librarian Capella sherwood COC Ensemble Studio ambur Braid Rihab Chaieb neil Craighead Chris enns Wallis Giunta adrian Kramer anne larlee ileana Montalbetti simone osborne Michael uloth Jacqueline Woodley Production Assistants ariel Martin-smith aislinn Ritchie PROGRAMMING Director of Programming – Free Concert Series nina draganić PRODUCTION Production Manager lee Milliken Technical Director david feheley Associate Technical Director Barney Bayliss

Lighting Co-ordinator Wendy Greenwood Assistant Technical Director Melynda Jurgenson Head Electrician Janice fraser Assistant Electrician Joel Thoman Production Electrician ashley Rose Head of Sound al Merson Head Carpenter Paul Watkinson Assistant Carpenter Mike Gelfand Head Flyman Rupert Baker Head of Properties alison Potter Core Crew Guy Campagnaro scott Clarke Terry hurley Paul otis Head Scene Shop Carpenter david Retzleff Head Scenic Artist Richard Gordon Assistant Head Scenic Artist Jana osterman Rehearsal Head Technician scott Williamson Properties Supervisor Guy nokes Resident Properties Builder/Co-ordinator stephanie Tjelios Properties Buyer/Coordinator Kathy frost Properties Co-ordinator Tracy Taylor Properties Builders Carolyn Choo Wulf Costume Supervisor sandra Corazza Costume Co-ordinator Kate day Assisted by Chloe anderson Cassandra spence Costume Assistants Jazlyn dow lina Marques Resident Tailor sue furlong Assisted By Gulay Cokgezen Karen hancock Wardrobe Mistress Marilyn Rodwell Wardrobe Assistant Rafe Macpherson Wig & Make-up Supervisor sharon Ryman Head of Wig & Make-up Crew Cori ferguson Production Co-ordinator shawna Green SURTITLES™ Producer Gunta dreifelds SURTITLES™ Editor Zane Kaneps SURTITLES™ Assistant susan Ball

DEVELOPMENT Director of Development Christie darville Senior Development Officer, Individual Giving dawn Marie schlegel Donor Relations Officer natalie sandassie Development Officer, Individual Giving leeanne Rorabeck Individual Giving Co-ordinator stephanie hunt Individual Giving Co-ordinator stephen Radbourn Development Officer, Friends of the COC aisha Talarico Development Co-ordinator, Friends of the COC lucia ly Senior Development Officer, Corporate Programs Carlie Weppler Development Officer, Corporate & Foundation Giving sybil Choles Co-ordinator, Corporate Development Peggy lau Manager, Special Events Tracy Briggs Co-ordinator, Special Events Christine Tizzard Donation Database Officer Kira egorova Data Processing Co-ordinator olena Moldovan FINANCE AND ADMINISTRATION Director of Finance and Administration lindy Cowan, Ca Finance Manager Ray Gooden, fCa (uK) General Accountants florence huang Zoran orlić (fsCPa) Payroll Accountants Jovana Božović Jeanny Won Public Affairs Manager amy Mushinski Manager, IT Services steven sherwood IT Services Assistant Tony sandy Computer Services Assistant nick Mitropoulos Receptionist/ Switchboard Katarina Božović Mailroom Clerk/Courier Branka hrsum BUILDING SERVICES COC & FSCPA Building Services Manager Joe Waldherr Assistant Building Services Manager Piro Milo

Security Supervisors Videsh dookhu dave samuels Maintenance Assistants Tymen de Vries (fsCPa) James esposito (fsCPa) Ryszard Gad (CoC) Branislav Peterman (CoC) Julian Peters (CoC) Wojtek Plichta (fsCPa) Piotr Wiench (fsCPa) Security Officers Tammy hill natalia Juzyc heather Reid Building Operators Radu Chereji dan Popescu dan Bisca Hurley Supervisor Paula da Costa COMMUNICATIONS Director of Public Relations Claudine domingue Director of Marketing Jeremy elbourne Senior Manager Sales and Customer Service Phil stephens Senior Communications Manager, Editorial suzanne Vanstone Senior Communications Manager, Creative Gianna Wichelow Communications Manager, Special Initiatives Caitlin Coull Digital Marketing Manager (on leave) Jennifer dougall Media Relations Manager Jennifer Pugsley Social and Interactive Media Co-ordinator Cecily Carver Marketing Co-ordinator eldon earle Digital Marketing Co-ordinator olga Kwak Retail and Editorial Co-ordinator Gianmarco segato Volunteer and Creative Assistant John Kriter Communications Assistant Vanessa smith EDUCATION AND OUTREACH Senior Manager, Education and Outreach Katherine semcesen Education and Outreach Programming Manager Jessica lovett Education and Outreach Programming Co-ordinator Carly anderson

FSCPA – Four Seasons Centre for the Performing Arts

Canadian Opera Company 2010/2011 Season

Administrative and Marketing Assistant, Education and Outreach Kalun leung TICKET SERVICES Ticket Services Manager alan Moffat Assistant Ticket Services Managers andrea salin nikki Tremblay (on leave) Group Sales Co-ordinator david nimmo Ticket Services Supervisors erin Cook lilian fung Victor Widjaja Ticket Services Representatives Becky Bridger Terry Bursey ernest Cayemen holly Coish danielle d’ornellas anna Kay eldridge Chelsea ireton Keith lam Julia lederer ian Mcdonnell diana Merta amber Mills Kelly noordermeer Kevin Pook Mary Porter Maria serreno Mitch Yolevsky CALL CENTRE Call Centre Manager sarah frankel Call Centre Representatives alex Gladwell david ontonovich Richard Paradiso Tim sell adriano sobretodo Margaret Terry FOUR SEASONS CENTRE FOR THE PERFORMING ARTS Director of Facility Operations alfred Caron Business Manager elizabeth Jones Patron Services Manager Jefferson Guzman Assistant Manager, Front of House Kim hutchinson-Barber Assistant Manager, Food & Beverage Brigitte lang Patron Services Supervisors Kelly Bailey Melissa lapczynski adam orr Brynn Pearson Rebecca Riddell ashley Westlake Kimberly Wu Patron Services Lead Carianne hill

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 fifteen years. Their support is critical to the company’s success and we are forever indebted to their commitment and generosity. Dr. Larry M. Agranove

Kolter Communities

ARIAS: Canadian Opera Student Development Fund

The Catherine and Maxwell Meighen Foundation

The Gerard & Earlaine Collins Foundation The late John A. Cook

MAJOR GIFTS & SPECIAL PROJECTS Every year, the Canadian Opera Company has unique projects operating beyond regular annual activities, each of which relies on private funding to ensure its success. These include: transition and endowment funding, production underwriting, artist and performance sponsorship as well as training, education and outreach programs. $500,000 – $999,999 The Catherine and Maxwell Meighen Foundation $100,000 – $499,999 Anne & Tony Arrell David G. Broadhurst The Estate of Horst Dantz & Don Quick‡ Jean Davidson & Paul Spafford Philip Deck & Kimberley Bozak George S. Dembroski Trina & Don McQueen Tim & Frances Price Colleen Sexsmith Sandra L. Simpson The Slaight Family Anonymous‡ $25,000 – $99,999 Estate of Daphne Bell Ethel Harris & the late Milton E. Harris Ronald Kimel & Vanessa LaPerriere Estate of Aldo & Anita Maggiorotti Jill & Geoff Matus Melanie Whitehead Mersch Roger D. Moore David Stanley-Porter

The Stratton Trust Françoise Sutton William & Phyllis Waters

Roger D. Moore E. Louise Morgan Joey & Toby Tanenbaum

INDIVIDUAL ANNUAL SUPPORT GOLDEN CIRCLE

UP TO $24,999 Philip Anisman†† Anthony G. Borg†† James & Lembi Buchanan†† Cecily & Robert Bradshaw Paul & Joyce Chapnick†† Ian & June Cockwell Mr. Frank L. Davis†† Mr. Gordon Fenwick†† David & Kristin Ferguson Dave Friedman†† Peter & Hélène Hunt Stephen W. Ireland†† Hon. Henry N. R. Jackman‡ Patrick & Barbara Keenan Mrs. Dolly Kerzner†† J. Hans Kluge Jo Lander Ian Lightstone†† Marjorie & Roy Linden†† Vincent Lobraico†† Michael Overbury†† In loving memory of Sandra Papsin David Roffey & Karen Walsh Jeffery Rubenstein†† Katalin Schäfer Dean Tudor†† Terry Vaudry†† Ms Kristine Vikmanis & Mr. Denton Creighton Peter Wearing†† Jack Whiteside†† Estate of Evelyn Ann Young Anonymous (2)

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GOLD, $50,000+ Anne & Tony Arrell*** David G. Broadhurst* In memory of Gerard H. Collins**** Jerry & Geraldine Heffernan**** The Catherine and Maxwell Meighen Foundation**** Roger D. Moore**** Arthur & Susan Scace**** Colleen Sexsmith** Sandra L. Simpson* SILVER, $25,000 – $49,999 Andrew Peller Limited Paul Bernards*** Cecily & Robert Bradshaw Philip Deck & Kimberley Bozak*** George S. Dembroski**** Mr. & Mrs. W. Humphries*** Ronald Kimel & Vanessa LaPerriere**** Susan Loube & William Acton* The Stratton Trust* BRONZE, $12,500 – $24,999 Dr. & Mrs. Hans G. Abromeit**** Mark & Gail Appel** Philip & Linda Armstrong* Ms Nora Aufreiter Melissa & Barry Avrich John & Claudine Bailey*** Barbara Black* Mr. Philip J. Boswell†**** Walter M. & Lisa Balfour Bowen**** Susanne Boyce & Brendan Mullen*** Rob & Teresa Brouwer* Marcia Lewis Brown Stewart & Gina Burton*

Dr. John Chiu in memory of Yvonne Chiu, C.M.**** The Max Clarkson Family Foundation**** J. Rob Collins & Janet Cottrelle**** Sydney & Florence Cooper* Mr. & Mrs. Leslie Dan** Jean Davidson & Paul Spafford**** David Denison & Maureen Flanagan* Dr. Fayaz & Mrs. Sandra Dossa David & Kristin Ferguson**** George Fierheller**** Margaret & Jim Fleck* Lloyd & Gladys Fogler*** David & Elizabeth Forster** Four Seasons Hotels & Resorts** Adam & Sharin Froman John & Rita Gagliano Roger & Kevin Garland** Michael & Lora Gibbens Ira Gluskin & Maxine Granovsky Gluskin** James & Joyce Gutmann**** Ethel Harris & the late Milton Harris**** Dr. W. P. Hayman & Dr. M. L. Myers*** Nona & William Heaslip Foundation**** Douglas E. Hodgson**** Michael & Linda Hutcheon**** William Ip & Kathleen Latimer* Jeff Lloyd & Barbara Henders Mr. & Mrs. J. S. A. MacDonald**** Bobby & Gordon MacNeill* Judy & Wilmot Matthews Jill & Geoff Matus* John & Esther McNeil*** Trina & Don McQueen* Johanna Metcalf*** Bruce & Vladka Mitchell Delia M. Moog** Jonathan Morgan* Sue Mortimer in memory of Clive Bennett Mortimer**** Nicholas & Rosemary Mutton Mrs. & Mr. Christl & Karl Niemuller** Donald O’Born** Peter M. Partridge**** Ian & Michelle Pearce Tim & Frances Price**** David Roffey & Karen Walsh*** Barrie Rose & Family*** John A. Rothschild Katalin Schäfer** Philip & Maria Smith** Stephen & Jane Smith**** Marion & Gerald Soloway* David E. Spiro*** David Stanley-Porter**** Ms Kristine Vikmanis & Mr. Denton Creighton**** Jack Whiteside** Tom & Ruth Woods***

PRESIDENT’S COUNCIL PRESIDENT’S COUNCIL COMMITTEE Mary-Catherine Acheson Diane Adamson-Brdar Thomas J. Burton Gladys Fogler Sue Mortimer Katalin Schäfer Colleen Sexsmith (Chair) Kristine Vikmanis Karen Walsh TRUSTEE, $7,500 – $12,499 à la Carte Kitchen Inc. Laurie & Fareed Ali* Margaret Atwood & Graeme Gibson** Mr. & Mrs. Alexander Christ**** Andrew Fleming** The Hon. William C. Graham & Mrs. Catherine Graham**** Al & Malka Green* Rainer Hackert*** Maggie Hayes** Trinity Jackman Bernhard & Hannelore Kaeser**** J. Hans Kluge* Murray & Marvelle Koffler**** Mr. Gurney Kranz*** Anne & Wilf Lewitt* Jerry & Joan Lozinski**** Hon. Margaret & Mr. Wallace McCain** John McVicker & B. W. Thomas**** Mrs. Louise O’Shea**** Ms R. Raso*** Françoise Sutton** Dr. David Shaw* Anonymous PATRON, $3,750 – $7,499 Clive & Barbara Allen**** Mr. Peter Allen* Sue Armstrong** Ron Atkinson & Bruce Blandford*** Salah Bachir* Mrs. N. A. Balciunas**** Mona H. Bandeen, C.M.** Schuyler Bankes & Family*** Karen & Bill Barnett L. H. Bartelink in memory of Oskar & Irmgard Gaube** Dr. Thomas H. Beechy**** Mr. & Mrs. Eric Belli-Bivar** Mr. & Mrs. Avie Bennett**** Mr. Roland Bertin**** Tom Bogart & Kathy Tamaki* William & Anna Maria Braithwaite* Dr. David & Constance Briant****

Canadian Opera Company 2010/2011 Season

Dr. Jane Brissenden & Dr. Janet Roscoe**** Mrs. Donna Brock** Margaret & Derek Brown**** Murray & Judy Bryant** Thomas J. Burton* Sharon & Howard Campbell* Joe & Laurissa Canavan Cesaroni Management Limited** Mr. Douglas W. Chaddock Paul G. Cherry & Dean C. Noack**** Peter & Frances Chiddy* Frank Ciccolini**** Marilyn Cook Mr. & Mrs. William J. Corcoran** Tim Costigan & Kathleen McLaughlin Lindy Cowan† & Chris Hatley** Mrs. Ninalee Craig** Norman Curtis**** C. M. Dare**** Raul Werneck de Castro** Dr. Jeanne Deinum**** Carol Derk & David Giles* Mrs. A. Ephraim Diamond and Family**** Bernard & Francine Dorval** Peter & Anne Dotsikas* Vreni & Marc Ducommun** Bud & Leigh Eisenberg** Mr. & Mrs. John J. Elder**** Joseph Fantl & Moira Bartram* Graham Farquharson** Fleur-de-lis Interior Design Kimberley Fobert & Robert Lamb†*** The Fraser Elliott Foundation**** Dr. & Mrs. Wm. O. Geisler** The Hon. & Mrs. Alastair W. Gillespie**** Ben & Sarah Glatt**** Peter & Shelagh Godsoe* Rose & Roger Goldstein *** Michael & Anne Gough**** Dr. Noëlle Grace & The Shohet Family*** Ronald & Birgitte Granofsky*** Douglas & Ruth Grant John & Judith Grant* John Groves*** George & Irene Hamilton**** Hampton Securities Ltd. Scott & Ellen Hand** Mr. & Mrs. William B. Harris** Hon. & Mrs. Paul Hellyer**** Ava Marion Hillier* Prof. Michiel Horn**** Scott Irvine† & Joan Watson†** Dr. Melvyn L. Iscove** The Jackman Foundation*** Victoria Jackman** Dr. Peter Janetos* Mr. Robert C. Jefferies*** Dr. Joshua Josephson**** Lorraine Kaake****

Patrick & Barbara Keenan**** Dr. Joel Keenleyside**** Jim & Diane King* Joseph Kerzner & Lisa Koeper*** Jean V. Kramar* The Hon. Dennis Lane, Q.C. & Mrs. Sandra Lane**** Harold & Larraine Langer**** Mr. Philip Lanouette* John B. Lawson, Q.C.**** Paul Lee & Jill Maynard**** Mr. J. Levitt & Ms E. Mah Daniel & Janet Li* Anthony Lisanti** Michel Lislois** Vincent & Helene Lobraico Angelo & Grace Locilento* Douglas L. Ludwig & Karen J. Rice** John Macfarlane Mrs. J. L. Malcolm* Christa & Robert McDermott* The Hon. Barbara McDougall*** Paul & Jean McGrath**** June McLean**** Mr. Michael J. McMurray* Sam Meister Mr. Ulrich Menzefricke**** Melanie Whitehead Mersch** Mr. Albert Merz* Dr. Thomas & Mrs. Catherine H. Millar Dr. Judith A. Miller*** Beatrice & Arthur Minden Foundation**** Professor David J. Murray** Eileen Patricia Newell** Mrs. Sally-Ann Noznesky**** E. Oliana & A. Iu** Keith & Brenda Ottaway** Dr. & Mrs. William M. Park**** Mr. Douglas L. Parker**** John & Gwen Pattison* Polk Family Charitable Fund** Julian Porter, Q.C.* Samuel A. Rea & Wendy J. Thompson**** Rob & Penny Richards** Margaret A. Riggin Gordon Robison & David Grant* Joseph L. Rosenmiller* Maxwell L. Rotstein & Nancy-Gay Rotstein**** Mr. & Mrs. R. T. Ruggles**** Annie & Ian D. Sale Judy & Hy Sarick**** Sam & Esther Sarick*** Helen & John Scott* Katherine & Gary Shaw* Dr. Ralph Shaw & June Shaw**** Allan & Helaine Shiff**** Judy & Hume Smith*** Dr. John Stanley & Dr. Helmut Reichenbächer** Drs. Wayne Stanley & Marina Pretorius

Doreen L. Stanton**** Dr. Richard & Jane Stoneman* Carol Swallow** Mr. & Mrs. Michael Tatham* Kathryn J. Thornton*** Anthea Thorp*** Vincent Tovell, O.C.*** Rosalind & Dory Vanderhoof Donald & Margaret Walter**** Hugh & Colleen Washington* William R. Waters*** Ruth Watts-Gransden**** Peter Webb & Joan York**** Dr. Jack Williams & Dr. Dorothy Pringle** L. R. Wilson* Mr. & Mrs. Richard Wookey*** Linda Young Tricia Younger* The Youssef-Warren Foundation*** Helen Ziegler** Sharon Zuckerman**** Helen & Walter Zwig**** Anonymous (6) MEMBER, $2,250 – $3,749 Mr. Herb Abramson** The Acheson Family Foundation** D. C. Adamson-Brdar**** Dr. & Mrs. Larry M. Agranove**** Donna & Lorne Albaum* Mr. & Mrs. Roberto & Nancy Albis** Mr. Thomas Allen* Mr. & Mrs. Howard Alpert** Dr. D. Amato & Ms J. Hodges**** Rod Anderson & Merike Lugus**** Andrée Appleton & Alexander Leman* Anne-Marie H. Applin** Valerie Armstrong*** Philip Arthur Virginia Atkin** John Bailey* James C. Baillie* Marilyn & Charles Baillie**** Andrew & Cornelia Baines**** Janice A. Baker**** Richard J. Balfour*** Lindy Barrow Ms Roxanne Bartel Dr. Frank Bartoszek & Mr. Daniel O’Brien**** Florence Sharpe Barwell**** Julia Bass & David Hamilton** Alice & Tom Bastedo** Rene Beaulieu Mr. & Mrs. Peter & Sondra Beck Mr. Doug & Mrs. Alison Bell Ms Marie Bérard†** Dan Bereskin, Q.C. & Rhoda Gryfe* Dr. Catherine Bergeron**

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Nani & Austin Beutel**** John N. & Miranda A. H. Birch J. Bismillah* Anneliese and Walter Blackwell**** Susanne Blake*** Ms Lynn Blaser & Mr. John van Ogtrop**** Ian & Janet Blue** John & Ila Bossons* Mr. W. Bowen & Ms S. Gavinchuk†*** David Boyd-Thomas*** Mrs. Carolyn Bradley-Hall & Mr. William Bradley** Mrs. Richard Bradshaw** Sylvia Brander**** Peter Brieger & Beverley Hamblin Brian Bucknall & Mary Jane Mossman**** Alice Burton** Barrie & Betty Cade** Maureen Callahan & Douglas Gray* Margaret Harriett Cameron**** Della H. Campbell**** Ken & Denise Cargill** Brian & Ellen Carr**** Gail Carson**** Wendy M. Cecil**** Dr. & Mrs. Albert Cheskes** Birte von Chlumecky-Bauer** Dr. Howard M. Clarke** The Rt. Hon. Adrienne Clarkson Cogeco Data Services Edward Cole & Adrienne Hood** Brian Collins & Amanda Demers* Murray & Katherine Corlett*** Harold & Anita Corrigan*** Dr. Lesley S. Corrin**** Gay & Derek Cowbourne* Ms Wanda Crickmay Susan Crocker* Irene & Keith Croot*** Andreas Curkovic Mary Beth Currie & Jeff Rintoul Carrol Anne Curry** Ms Lindsay Dale-Harris & Mr. Rupert Field-Marsham**** Doris J. Daughney M. P. Davies* Dr. & Mrs. Michael & Ute Davis* Brian J. Dawson** Juleth Dawson Michael & Honor de Pencier*** Mrs. Rosario de Wit-Farro** Mrs. Leonard G. (Anne) Delicaet & Mrs. Kendra Anne Delicaet-Almasi*** Mary-Kathleen Delicaet & John Young Perry & Rae Dellio** Angelo & Carol DelZotto** Mr. & Mrs. Elvio DelZotto*

Jill Denham & Stephen Marshall* Mr. & Mrs. A. J. Diamond Mr. David S. Dick Steven & Linda Diener** J. DiGiovanni Olwen & Frank Dixon* James Doak & Patricia Best** Sandra Z. Doblinger* Ms Petrina Dolby** Dr. James & Mrs. Ellen Downey* John Duffy & Jill Presser Marko Duic**** H. I. Dunlop*** Judy Dunn Ron Dyck & Walter Stewart** William & Gwenda Echard**** Jean Edwards* Wendy & Elliot Eisen*** Genia & Stan Elkind**** Robert Elliott & Paul Wilson* Dr. & Mrs. John Evans** Virginia Evans* Fabris Inc. George A. Farkass* Gail & Bob Farquharson Catherine Fauquier*** Bill Fearn & Claudia Rogers*** Lee K. Ferrier*** William & Rosemary Fillmore** Mr. & Mrs. Cosimo & Christina Fiorenza** Dr. Sidney M. Fireman* Robert & Julia Foster* Margaret & David Fountain**** Mr. Michael A. French* Judith Ann Fullerton* Robert Fung** Rev. Ivars Gaide & Rev. Dr. Anita Gaide** Tom & Helen Galt**** Ann Gawman** Dr. Barry A. Gayle**** Martin & Mindy Gerskup* The Honourable Irving Gerstein & Mrs. Gail Gerstein* Mr. & Mrs. Andrew Giancamilli* Ann J. Gibson**** William & Marika Glied** Mary & Lionel Goffart Dr. Eudice Goldberg Dr. Fay Goldstep & Dr. George Freedman* Deanna A. Gontard**** Tina & Michael Gooding** Wayne A. Gooding**** Goodman Family David & Janice Gordon** Jane Greene* Mr. Finn Greflund & Mrs. M. Ortner* Carmen & Vittoria Guglietti* Ellen & Simon Gulden**** Anna L. Guthrie**** Mr. & Mrs. Henry Hackenspiel**** Gudrun Hackert*** Dan Hagler & Family**

Ms Francess G. Halpenny**** Mr. Adrian J. Hamel John & Ruth Hannigan Beverly Hargraft* Michael Harris & Carol Rak* Valerie & Brian Harris*** Mr. D. Harrison & Dr. E. Fischer* Paul & Natalie Hartman Lloyd Heaslip**** Jenny Heathcote**** Mr. Thomas G. Heintzman & Ms Mary Jane Heintzman** Caroline Helbronner & Douglas Klaassen** Jacques & Elizabeth Helbronner** Ann & Lyman Henderson**** Thea Herman & Gregory King** The Donald Heskins Philanthropic Fund of The Foundation for Jewish Philanthropies* William E. Hewitt*** Sam & Libby Ho** Chris Hoffmann & Joan Eakin* Richard & Donna Holbrook**** Sally Holton & Stephen Ireland*** Emmy & Walter Homburger** Mr. Roland Hoy** Drs. Walter & Virginia Hryshko Ken Hugessen & Jennifer Connolly* Anthony C. J. Humphreys**** Gillian Humphreys Peter & Hélène Hunt**** Mrs. Wilma Hysen*** Infonex Inc.* Prof. Christopher Innes & Brigitte Bogar William Innes Diana & Philip Jackson in memory of Ethel B. Jackson*** Elliott Jacobson & Judy Malkin* Lynne Jeffrey*** Laurence Jewell* The Norman & Margaret Jewison Charitable Foundation**** Ms Elizabeth Johnson* Dr. Albert & Bette Johnston* Joyce Johnston** H. L. Katarynych** Joseph & Maureen Katchen David W. & Sheryl L. Kerr Inta Kierans**** Peter Kingsmill Ellen & Hermann Kircher**** Dr. Elizabeth Kocmur**** Michael & Sonja Koerner** Robin Korthals & Janet Charlton* Dr. Robert Kosnik**** Richard J. Kostoff** Valarie Koziol William & Eva Krangle*** Richard T. La Prairie

Canadian Opera Company 2010/2011 Season

Elizabeth & Goulding Lambert*** Leslie & Jo Lander**** Dr. Connie Lee** Linda Lee & Michael Pharoah**** Neal Lee & Dominique Lee* Dr. Richard Lee & Mr. Gary Van Haren* Alexander & Anna Leggatt** Joy Levine** Mr. Peter Levitt & Ms Mai Why** Cheryl Lewis & Mihkel Voore** L. Liivamagi Justin S. Linden Marjorie & Roy Linden**** Dr. & Mrs. W. G. Lindley**** Janet & Sid Lindsay** Dr. Vance Logan*** A. Benson Lorriman**** Dr. Robert G. Luton**** Ms Jane Loughborough* Jonathan & Dorothea Lovat Dickson* Mary Lu & Bruce MacDonald**** James & Connie MacDougall**** Mr. Jed MacKay**** Dr. & Mrs. Richard Mackenzie**** Mrs. R. MacMillan**** Tom & Catharina MacMillan**** Macro Properties Ltd.* Mrs. Janet Maggiacomo* Susan & Scott Maidment** Dr. Colin McGregor Mailer**** R. Manke**** Dr. & Mrs. M. A. Manuel Mr. & Mrs. R. Gordon Marantz**** Gerald & Helen Marr**** Kenneth & Kathleen Mathieson Pauline and Dipak Mazumdar at the Toronto Community Foundation*** Mrs. Ettore Mazzoleni** Dr. & Mrs. John A. McCallum**** Wendy & Chris McDowall* Anne McFadyen Dr. & Mrs. Donald C. McGillivray**** Dr. Gabrielle McIntire Darcy & Joyce McKeough* Guy & Joanne McLean*** M. E. McLeod**** Jean M. McNab**** Margaret C. McNee Mark & Andrea McQueen*** Shawn McReynolds & Elaine Kierans Mr. Ian McWalter* Dr. Don Melady & Mr. Rowley Mossop** MI9 Business Intelligence Systems Ingrid & Daniel Mida Marvene (Cox) & Gordon Miller* Lee Milliken† & Doug MacNaughton* Dr. William & Mrs. Sharon Millman*

Patricia & Frank Mills** Ms Kamini Milnes* Audrey & David Mirvish** Dr. David N. Mitchell & Dr. Susan M. Till** Mr. Donald Mitchell Robert & Janet Mitchell Eva Mocarski Dr. & Mrs. S. Mocarski Donald Moggridge & Susan Howson** Anne Moore*** Mr. Robert Morassutti**** Alice Janet Morgan** Ada & Hugh G. Morris Edith Patterson Morrow*** Ms Rosalind Morrow* Drs. Christopher & Pippa Moss** Mr. Noel Mowat* Walter & Susan Mozek Mr. Joseph Mulder* Taketo & Vija Murata* Ethel Myers**** David & Mary Neelands** Dr. Shirley C. Neuman* Dr. John & Pamela Newall**** Dr. Emilie Newell* Dr. Steven Nitzkin*** Mr. Jean-Claude Noel* Simon & Marlene Nyilassy Dr. James & Mrs. Valda Oestreicher** Janice Oliver** Benson Orenstein** Martin & Myrna Ossip* Julia & Liza Overs*** Dr. & Mrs. N. Pairaudeau*** Isabel Pargana & Raimondo Maltese Mrs. Margaret Ann Pattison**** John & Penelope Pepperell* Dr. R. G. Perrin* Stephanie Perry & Ronan McGrath Mr. William Perry* John & Carol Peterson** M. J. Phillips**** June C. Pinkney**** Johann C. Pinto Robin B. Pitcher*** Wanda Plachta*** Mary Jean & Frank Potter*** Georgia Prassas**** Margrit & Tony Rahilly**** Stephen Ralls & Bruce Ubukata** The Carol & Morton Rapp Foundation**** C. Edward Rathé**** Grant L. Reuber** Mrs. Gabrielle Richards* Carolyn Ricketts*** Ms Nada Ristich Emily & Fred Rizner* Clara Robert Ms Virginia Robeson

Sidney Robinson & Linda Currie**** Dr. Michael & Mary Romeo**** John & Hannah Rosen Ken & Helen Rotenberg* Rainer & Sharyn Rothfuss*** Drs. Orest & Maureen Rudzik**** David A. Ruston** Ms Sharon Cookie Sandler*** Mallory Morris Sartz & John Sartz**** Stewart & Dianne Saxe*** Dr. & Mrs. Bruce Schaef**** Beverly & Fred Schaeffer**** Mrs. Ortaud Scherer* Fred & Mary Schulz* Dr. Marianne Seger**** Carol Seifert & Bruno Tesan** Mr. & Mrs. Norman Shamie*** Victor & Rhoda Shields*** Milton & Joyce Shier**** Dr. Kevin Shiffman* David & Hilary Short*** William Siegel & Margaret Swaine* Dr. Birgitta Sigfridsson In memory of Dr. Bernard Slatt Dr. & Mrs. Jeremy Sloan* Jay Smith & Laura Rapp Kenneth & Catherine Smith** Ms Muriel Smith & Mr. Eric Ojala*** Dr. Harley Smyth & Carolyn McIntire Smyth* Dr. Joseph So** Philip Somerville* John & Ellen Spears*** Martha E. Spears** Alex & Kim Squires**** The Steve & Sally Stavro Family Foundation* Celia & Lee Steels** Oksana R. Stein** Mr. & Mrs. Gary & Sula Stern Dr. & Mrs. Stephen Stern** John D. Stevenson*** James H. Stonehouse* Dr. Peter Stroz & Dr. Sophia Pantazi*** Janet Stubbs Anna Talenti*** Eric Tang & Dr. James Miller* Mr. & Mrs. Gordon Taylor*** John Todd & Jenny Ginder**** John & Liz Tory**** Diana Tremain**** Ian Turner** Riki Turofsky & Charles Petersen* Cindy & Gary Ullman** Sandra & Guy Upjohn** Dita Vadron & James Catty* Tony & Mary van Straubenzee*** Dr. R. B. Van Winckle Edmond & Sylvia Vanhaverbeke***

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Mr. & Mrs. Henry & Ann Louise Vehovec*** Dr. Yvonne Verbeeten** Dr. Helen Vosu & Donald Milner*** Richard & Nathalie Wachsberg Samara Walbohm & Joe Schlesinger Diane Walker & Rob Bell** Elizabeth & Michael Walker** Philip & Diana Weinstein Dr. Bogomila Welsh* Dr. Virginia Wesson** Ms Eleanor Westney* Ms Anne-Marie Widner & Mr. Paul Szymanski** Mr. Brian Wilks Elizabeth Wilson & Ian Montagnes**** Jeffrey Stewart Wilson* Ms Ling Wong* Dr. Jackson Wu & Dr. Viviana Chang Dr. Laval Yau*** Erik Yeo Morden Yolles**** Marion York & Robert Speer†* Marina Yoshida*** Dr. Howard & Sybil Young**** George Zeman Susan Zorzi** Anonymous (23) FRIENDS OF THE COC As of April 6, 2011 SUSTAINING FRIENDS $1,600 – $2,249 In memory of M. Baptista** Dody Bienenstock* Iivi Campbell**** Mrs. Margaret Couch* Ruth & John Crow** Jayne & Ted Dawson**** Mr. Albert D. Dunn Mrs. Lois Fleming**** Carmen & Vittoria Guglietti* Ms Suanne Kelman & Dr. Allan J. Fox* Dr. & Mrs. R. W. Kimber** Tom C. Logan* Mr. A. Mafrici**** Mrs. Eileen A. Mercier*** Mr. John Nagel Mrs. Annette Oelbaum Dr. Norbert V. Perera**** Mrs. Richard Gavin Reid Go Sato**** Gary Shiff** Jim Stewart & Deborah Swail Mr. & Mrs. Vernon & Beryl Turner*** Dr. O. R. Waler* Gordon Waugh*** Ms June Yee** Anonymous (2)

ASSOCIATE FRIENDS $1,100 – $1,599 Ms I. M. Allen**** Michael & Janet Barnard* Don Biderman**** Mrs. William Birchall Ms Ethel Birkenshaw Bruce Burgess** Ms E. Burton** Dr. Wendy C. Chan Pauline Cheung & Winston Koo Mr. Darren Day** Prometheum Institute** Ms Christine Demont** Gary Fitzgibbon** Mr. James Dewhurst J. E. Fordyce**** Miss Gillian Foster** R. Dalton Fowler**** Klaus Multiparking Inc. John H. Galloway**** Alison Girling and Paul Schabas* Helen & Barry Goldlist**** Mr. Henry Gooderham** Dr. Wilfred S. Goodman**** Mrs. Marion A. Green**** Suzy Greenspan** Mr. & Mrs. Michael E. Harrison**** Mr. & Mrs. H. C. Hatch*** Jean & Bill Heaslip**** Lawrence & Beatrice Herman*** Mr. Josef Hrdina* Donald Hughes*** Horace & Elizabeth Krever**** Mr. & Mrs. Owen & Margie Kurin* Alan & Marti Latta**** Claus & Heather Lenk* P. Anne Mackay**** Craig & Karen Mahood* Mary McGowan*** Brian Miron & Monica Vegelj Mr. Carl Morey*** Mr. Sean O'Neill*** Clarence & Mary Pace* Dr. Roger D. Pearce** Ms Alexandra Petrenko Ms Beatrice Riddell A. K. Sigurjonsson** C. Anderson Silber* David Smukler & Patricia Kern* Mr. Warren Sorensen & Mr. Gregory Williams**** Dr. & Mrs. George Steiner*** Jane & Ted Stephenson*** Ms Peg Thoen* Bill MacKenzie & Alan Westbrook** Janet White* Ron Williams* Anonymous (4)

CONTRIBUTING FRIENDS $700 - $1,099 Mr. Roger Abbott Mrs. Rosalen Armstrong**** Anne & Husayn Banani* Peter & Leslie Barton** Dr. Gail Beck & Mr. Andrew Fenus Michael Benedict & Martha Lowrie**** Jeniva Berger** Dr. B. Derek & Dr. Anne W. Birt**** Dr. Jennifer Blake Mary Brock & Brian Iler*** Miss Maria Buisman* Ms Judith Burrows* Theresa & John Caldwell**** Betty Carlyle**** Jack A. Carr Mark Cestnik**** Carole Chabot & Derek Dodd** Barbara Charters**** Harold Chmara**** Joe T. R. Clarke**** Dr. Marsha Cohen & Mr. Michael Mendelson** Mr. & Mrs. Norman & Louise Coxall** Mr. Neil Crawford Mr. John A. Crocker & Mrs. Mary Crocker*** Mrs. Grace Diez Dr. Domville** Mr. Steven D. Donohoe**** Peter & Shashi Eden* Mr. Thomas Eiser**** Ms Eleanor L. Ellins**** Mr. Arthur English* Ms Sharon Evans**** Mr. Kirk Falconer** Mr. F. C. Farr*** Joe & Helen Feldmann** Brian A. Ferguson*** Richard & Gail Flack** Mr. Morris Flicht**** Mrs. & Mr. Jennifer & Francis Flower*** Dr. & Mrs. A. Mervyn Fox**** Douglas G. Gardner*** Elinor Gill Ratcliffe C.M., O.N.L. Dr. Gabriela Gohla Dr. Bruno & Mrs. Louise Golisky** Lisa & Harvey Golombek in memory of Hilda & Isie Golombek* Ricardo Gomez-Insausti Ms Ina K. Govan**** Mr. James Hamilton Philo Handler* Dr. & Mrs. Brian & Cynthia Hands**** Harper House Contracting Ltd Mr. & Mrs. E. Roy Harrison**** W. L. B. Heath*** In memory of Pauline Chorniuk Hinch

Canadian Opera Company 2010/2011 Season

Mr. David Holdsworth & Ms Nicole Senecal Richard & Susan Horner**** Dr. Ivan & Mrs. Diana Hronsky**** James Hughes** Pierre Hurtubise**** Mr. Sumant Inamdar* Mr. Kazik Jedrzejczak**** Frances E. Johnson*** Douglas & Dorothy Joyce**** May & Fred Karp** Heidi & Khalid Khokhar** Mai Kirch**** Dr. & Mrs. L. A. Kitchell** Mr. & Mrs. I. P. & O. M. Komarnicky** Mr.& Mrs. Armin Kratel Mr. Jonathan Krehm Gediminas P. Kurpis**** Mr. James R. Lake*** Harry Lane** Mary-Jane Large** Giles le Riche & Rosemary Polczer** Mr. Yakov Lerner Mrs. Mary Liitoja**** Nathan & Glenys Lindenberg Ingrid Martin Kathy Marton Mary McClymont**** Jil McIntosh* Mr. Bruce McKeown*** Georgina McLennan**** Sylvia McPhee**** Janis Medland Mr. & Mrs. David & Shirley Menzel** Suzanne Mess** Kathryn Mikoski & Hope Clement* Frank & Anne Moir* Terry & Dom Morris** David Northcote & Suzanne Betcke** Jean O'Grady* Ms Cristina Oke** Karen Olinyk† William Ostrander*** Mr. Martti Paloheimo Mr. Joseph & Mrs. Letizia Paradiso** Barbara & Peter Pauly* David Peachey & Georgia Henderson* Bruce Pearce*** Dr. A. Angus Peller Mrs. Dorothy K. Piepke**** The Late Ms Ella Prindiville**** Dr. Peter Ray*** Dr. Shelley Rechner**** Guylaine Rheault-Oliver Mr. David E. Roman**** Mrs. Gertrude Rosenthal**** Dorothy & Robert Ross*** M. Sanvido*** William & Meredith Saunderson***

Barbara Sawaszkiewicz**** Miss Elisabeth Scarff**** Patti & Richard Schabas* Mrs. Sylvia Schmid**** The Derick Brenninkmeyer Charitable Foundation Henry & Mary Seldon*** Anci Shafran**** Robert Sherrin** Cheryl Shook* Ms Elizabeth J. Shropshire* Dr. & Mrs. Bernie & Bobbie Silverman* D. Bruce Sinclair* Joan Sinclair & John McConnell* John Spears**** Mrs. Harriet H. Stairs** Tony Stapells** Dr. & Mrs. W. K. Stavraky** Scott Steele & Jan Korman Robert & Nancy Stephenson* Marta Stewart**** Mr. Paul Szaszkiewicz & Ms Peggy Theodore Anna M. Tait**** Ms Michelle Tan* Mrs. Yoka Terbrugge Dr. M. Lynne Thurling & Dr. John Treilhard** Dr. Claude Tousignant* David & Diana Trent**** Mrs. Norene Turvolgyi**** Dr. Nancy F. Vogan**** Mr. Wayne Vogan†**** Dr. Peter Voore*** Mr. John M. Welch**** Mr. and Mrs. Karl Wildi David B. & Virginia Wortman* Nina & Norman Wright** Ms Iris Zawadowski Ms Marta Zerenyi Anonymous (15) THE ENCORE LEGACY The Encore Legacy is the planned giving program of the Canadian Opera Company. Planned giving is making the decision today to provide a gift for the Canadian Opera Company that may not be realized until after your lifetime. Planned giving also allows many people to make a significant gift without altering their current lifestyle. Gifts planned today, that will ultimately affect your estate, allow you to make a statement of support that will become a lasting legacy to the COC. In addition, gift planning may provide significant tax benefits for your estate.

The Canadian Opera Company gratefully acknowledges and thanks the following individuals who have included the COC in their estate planning: Dr. Larry M. Agranove Isobel Allen Renata Arens & Elizabeth Frey Mrs. Rosalen Armstrong Ron Atkinson & Bruce Blandford J. Linden Best & James G. Kerr David Bowen Marnie M. Bracht Walter Carsen Earl Clark Brian Collins & Amanda Demers Earlaine Collins David H. Cormack Ann De Brouwer Helen Drake Rowland D. Galbraith Douglas G. Gardner Michael & Anne Gough L. A. Grover George & Irene Hamilton Joan L. Harris James Hewson John R. Higgins Mr. Kim Yim Ho & Walter Frederic Thommen Douglas E. Hodgson Matt Hughes Lynne Jeffrey Ann Kadrnka Kathryn Kossow Mr. Gurney Kranz Jo Lander Peggy Lau† Marjorie & Roy Linden J. Bruce MacDonald Ms Lenore MacDonald Dr. Colin M. Mailer R. Manke Tim & Jane Marlatt Margaret McKee Sylvia M. McPhee Dr. Alan C. Middleton Eleanor Miller Donald Morse Sue Mortimer Mr. & Mrs. James D. Patterson Mervyn Pickering Gunther & Dorothy Piepke Ms Georgia Prassas K. F. Read Dr. John Reeve-Newson Mrs. Margaret Russell Cookie & Stephen Sandler J. M. Doc Savage David Serber Claire Shaw R. Bonnie Shettler David E. Spiro Dr. D. P. Stanley-Porter

Please visit coc.ca for additional information

Doreen L. Stanton Lilly Offenbach Strauss Drs. W. & K. Stavraky Janet Stubbs Ann Sutton Ronald Taber Vivian Treacy Mrs. L. Treutler N. Suzanne Vanstone† Marie-Laure Wagner Hugh & Colleen Washington Marion C. Wilson Marion York Anonymous (41) CORPORATE MATCHING PARTNERS The Canadian Opera Company gratefully acknowledges the following organizations that have matched gifts by their employees: Canadian Tire Corporation Limited Ivanhoe Cambridge Inc Goodman & Company Investment Counsel Ltd. FM Global Foundation

The above Individual Support Gifts were made as of March 24, 2011. * ** *** **** † ‡ ††

five to nine years of support 10 to 14 years of support 15 to 19 years of support 20 or more years of support COC administration, chorus or orchestra member Endowment Fine Wine Auction

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

MAJOR CORPORATE SPONSORS 2010/2011 SEASON

Sun Life Financial Accessibility Program Encompassing SURTITLES™, Wheelchair Seating, Hearing-Assistive and Vision-Impaired Devices

Official Automotive Sponsor of the COC at the FSCPA

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

Xstrata Ensemble Studio School Tour

BMO Financial Group Pre-Performance Opera Chats and BMO Financial Group Student Dress Rehearsals Aida Opening Night Sponsor

Presenting Sponsor Opera for a New Age and Operanation VII

Production Co-sponsors Adams’ Nixon in China

Presenting Sponsor, Free Concert Series in the Richard Bradshaw Amphitheatre

Official Canadian Wine of the COC at the FSCPA

KPMG Opera Golf Classic

Preferred Fragrance Sponsor

Preferred Medical Services Provider

Preferred Hospitality Sponsor

Canadian Opera Company 2010/2011 Season

Official Media Sponsors

Digital Marketing Sponsor

2010/2011 SPONSORS Preferred Airline Sponsor

Rentals Supplier

Preferred Florists

Mario Séguin Quince Flowers Tidy’s Flowers Wild Thyme Other suppliers

THE BUTLER DID IT Nestlé Waters Torrié Coffee

DIAMOND PERFORMANCE SPONSORS

PERFORMANCE SPONSORS At time of printing

ARIAS Barrick Gold Burgundy Asset Management CTVglobemedia Davies Ward Phillips & Vineberg LLP Delvinia Fionn MacCool’s Four Seasons Hotels and Resorts HSBC Bank Canada Louis Vuitton PwC Scotia Capital Standard Life

OPENING NIGHT SPONSOR Fionn MacCool’s HOSTING SPONSOR

PROGRAM SPONSORS Budd Sugarman Foundation, Create an Opera Supporter Great West Life, London Life and Canada Life, Opera Storytime Program Supporter The Globe and Mail, Subscriber Ticket Back Sponsor KPMG LLP, Xstrata Ensemble Studio School Tour Performance Sponsor Standard Life, Xstrata Ensemble Studio School Tour Performance Sponsor Torys LLP, After School Opera Program Supporting Sponsor

2010/2011 MEDIA SPONSORS & IN-KIND SUPPORTERS CBC Radio Two Remenyi House of Music Ltd.

CORPORATE AND FOUNDATION DONORS MaJoR GifTs

ANNUAL FINE WINE AUCTION 2011 hosT sPonsoR Crush Wine Bar

$10,000+ Audrey S. Hellyer Charitable Foundation J. P. Bickell Foundation The Hope Charitable Foundation The Hal Jackman Fund at the Ontario Arts Foundation The McLean Foundation $5,000 to $9,999 225490 Investments Limited Britten-Pears Foundation IATSE Local 58 Charitable Stage Technicians Toronto SNC Lavalin Unit Park Holdings Inc.

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$3,000 to $4,999 The Calgary Foundation – Nellie Hicks Memorial Fund The Keg Spirit Foundation $2,000 to $2,999 Classical 96.3 FM MAC Cosmetics Mercedes-Benz Canada Inc. Vida Peene Fund - Canada Council $1,000 to $1,999 Milgram Group of Companies Ltd. Powis Family Foundation

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

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

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sPeCial PRoJeCT fundinG For the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: Department of Canadian Heritage Human Resources and Skills Development Canada

CREDITS & ACKNOWLEDGMENTS The Canadian Opera Company would like to thank all those who volunteer both on a daily basis and for special events with the company. Michael Cooper: Official photographer The COC is a member of Opera America and Opera.ca. The COC operates in agreement with Canadian Actors’ Equity Association. The COC operates in agreement with I.A.T.S.E., Local #58, Local #822 and Local #828. Broadcast Partner CBC Radio is providing the production facilities and production team for the COC produced recordings of this season’s operas. Recording Producer: Neil Crory; Recording Engineer: Doug Doctor; Assistant Recording Engineer: Steve Sweeney

SUPERNUMERARIES Liz Allemang Stephanie Applin Elizabeth Birss Julie-Ann Guselle

Canadian Opera Company 2010/2011 Season

Tessa Laengert Colleen Mathieu Kamela Mirich Amanda Strange

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NIGHTINGALE SOARS AT BAM This March, at the invitation of the worldrenowned Brooklyn Academy of Music (BAM), the Canadian Opera Company performed the U.S. premiere of its spectacular production of Robert Lepage’s The Nightingale and Other Short Fables.

The production, set to the music of Stravinsky, was directed by Robert Lepage and conducted by COC Music Director Johannes Debus. Audiences cheered and the critics raved!

“Magic, pure and complex... Johannes Debus conducts the Toronto forces with elegant swagger... Call it a triumph.” HHHHH Martin Bernheimer, Financial Times “The Canadian Opera Company’s Orchestra and Chorus were vibrantly conducted by its accomplished young music director, Johannes Debus.” Anthony Tommasini, New York Times “When its [chorus] members simultaneously opened up their Chinese robes to reveal hitherto hidden puppets, it was pure magic – and the show was full of these moments of childlike wonder.” Elisabeth Vincentelli, New York Post “Mixing elegance and whimsy, director Robert Lepage’s production of The Nightingale and Other Short Fables, at the BAM Howard Gilman Opera House, is both a visual and an aural treat.” Dan Bacalzo, Theater Mania “The COC Orchestra, conducted by Johannes Debus, brings out the delicacy and haunting lyricism in this charming work...” Mike Silverman, Associated Press

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Canadian Opera Company 2010/2011 Season

THE OPERA OF UNANSWERED CRIES BY MAX LOPPERT

pening the Orfeo ed Euridice chapter of his Opera Nights (1943), Ernest Newman presented his readers with two assertions: “This is the work with which [Gluck] began his famous ‘reform of the opera,’” and “It is the oldest opera now in the repertory.” The first may still be an arguable proposition; the second no longer is. Since Newman’s date of publication, the vast continent of early music has been opened up. The beginnings of opera have been re-explored, and Monteverdi’s Orfeo now claims the position in the repertory that Newman staked for Gluck’s. Moreover, Italian 18th-century “serious opera,” the target of Gluck’s revolutionary zeal, is no longer terra incognita for opera-lovers. Received Opinion, re-stated in generations of operatic textbooks, may have dismissed opera seria as intrinsically a hopelessly decadent art-form verging on dramatic meaninglessness because of formulaic rigidity and dependence on singers’ showing off. Now – in the wake of successful recent revivals of opera seria

Canadian Opera Company 2010/2011 Season

The COC presents Orfeo ed Euridice. David Daniels (centre) as Orfeo in the Lyric Opera of Chicago production, 2006. Photo: Robert Kusel

by Handel, Hasse, Jommelli, Traetta, and many others, which have won new admirers – the whole subject requires root-and-branch re-examination. With all this as background, the status of Orfeo, Gluck’s azione teatrale per musica, as one of the key works of operatic history remains easy to reaffirm. At the time of its first performance, at the Burgtheater in Vienna on Oct. 5, 1762, the composer was 48, with a long and varied theatrical career behind him. Born in Bavaria, raised in Bohemia, he earned his living first in Prague, then Vienna, before departing for Milan, where he steeped himself in current Italian operatic modes and manners; his first opera, Artaserse (Milan, 1741), was a success, as were his next seven, given in various Italian theatres. Thereafter he spent time in London (where he struck up a warm relationship with Handel), Vienna, Dresden, Prague, Copenhagen, and Naples, for much of the time at the head of the travelling opera troupe which he had joined in 1746.

Marriage to a wealthy Viennese merchant’s daughter in 1752 enabled him to settle in that city; attached to the court, he enjoyed the inestimably valuable patronage of Count Durazzo, Genoa-born, Francophile by cultural inclination, who served as the Empress’s theatre administrator. Maria Theresa herself never wholly admired Gluck, though he taught her children and eventually won high office from her; she preferred the collaborations of her court poet Metastasio (the 18th century’s supreme opera seria librettist, who in a letter once described Gluck as a composer of “surprising fire but… mad”) and Hasse – the “old guard,” also resident in Vienna – to the “avant garde,” that formed around Durazzo. Alongside Gluck, that group also included Ranieri de’ Calzabigi from Livorno, librettist of Orfeo (and another passionate Francophile), and the Florentine dancer-choreographer Gasparo Angiolini. Nonetheless, Vienna remained Gluck’s home until his death in 1787, even during the 1770s, when he was

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

ORFEO ED EURIDICE: The Opera of Unanswered Cries

bent on conquest of the Paris operatic stage. The diversity, variety, and sheer skilfulness of Gluck’s theatrical scores are still insufficiently recognized. He composed in all the operatic modes fashionable in Vienna, and prolifically for the dance. Among the most significant of his ballet compositions was Don Juan, the Molièreinspired A-bomb of a pantomime-ballet that Gluck and Angiolini dropped on an unsuspecting Burgtheater on Oct. 17, 1761. Orfeo the following year caused another sensation. Produced for the Emperor Franz’s name day, it was modest in length and modestly supplied with three principal roles. More startling, given the context, was the severe Classical setting, the large-scale use of chorus, the absence of soloist vocal display, and the integration of Angiolini’s dance episodes into the dramatic unfolding. Retrospectively Orfeo was taken to mark the start of the whole so-called Reform movement, which Gluck later provided with a manifesto. To the publication in 1769 of Alceste (premiered in Vienna, 1767), the second of his three Reformist collaborations

with Calzabigi, he attached as preface what became one of the most widely quoted documents in music history, in which he formulated the ideals that had driven him to simplify current operatic practice. This is its key sentence: “I sought to rid music of all the abuses, introduced either by the vanity of singers or by the excessive complaisance of conductors, that have for so long disfigured the Italian opera.” It is salutary to remember that Gluck’s own creative path never maintained an unswerving route towards the innovative ideals expressed in that preface. (He continued to write “old-fashioned” opera seria after Orfeo.) In the words of Winton Dean in the first edition of The New Grove Dictionary, “[His] Italian Reform operas… were not quite the bolt from the blue they appear in the selective light of historical memory. Rather they crystallized existing tendencies, fortified by the hand of genius” – tendencies already apparent in Gluck himself and in other opera seria composers of the day, Traetta and Jommelli among them. Furthermore, in Paris there was

The COC presents Orfeo ed Euridice. David Daniels (centre) as Orfeo in the Lyric Opera of Chicago production, 2006. Photo: Robert Kusel

Canadian Opera Company 2010/2011 Season

2010|11 season is presented by

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ORFEO ED EURIDICE: The Opera of Unanswered Cries

already the well-established theatrical trend of moving away from the grandiosely artificial towards simplicity and naturalness. Significant French influences are detectable in Orfeo, applied (no doubt) via the Parisian leanings of Gluck’s collaborators Durazzo and Calzabigi; these concern the expanded role of the chorus, removal of “dry” (that is, keyboard-accompanied) recitative, and construction of the acts in massive tableaux. All this notwithstanding, it takes no more than a single encounter with Orfeo in its original form to convince one that Gluck’s expressive directness and (for most of the opera’s course) unremitting concentration of musical effect for dramatic

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Canadian Opera Company 2010/2011 Season

purpose represent a creative landmark in the history of opera. Let me be specific about this “concentration of effect”: in measure 25 of the opening minor-key chorus, the hero cries out the name “Euridice!” (on four notes – three Ds and then the D an octave lower) above the other voices. In measure 27 he repeats the cry; in measure 44 he slightly alters it. The situation is summarized: a funerary chorus, the chief mourner bursting out in grief above it, the dead beloved’s name thrice repeated. An unforgettable sound-image encapsulates the tragedy. Interpolation of a solo voice into choral singing may not itself have been a new operatic effect, yet in context at the very opening of the opera, it amounts to a new operatic invention. Orfeo ed Euridice could be subtitled “the opera of unanswered cries.” In his first solo, “Chiamo il mio ben così,” Orfeo calls out to Euridice everywhere in the natural world, but Nature fails to return him a reply (his calling-out suggested with supreme poetic aptness by the presence offstage of a small second orchestra echoing the ends of his phrases). Later, in “Che faro senza Euridice?” Orfeo’s Act III lament and the opera’s climax, Euridice’s name is invoked with increasingly desperate passion. (Gluck is said to have instructed the celebrated alto castrato Gaetano Guadagni, the first Orfeo, to “shout [it] as if you had suffered a real loss.” Across the span of the opera the hero’s first and second losses are linked, and the second thereby rendered limitlessly poignant; in the entire operatic literature, few names become charged with a stronger emotional current. The music of Orfeo, in its balance of forms, colours, and atmospheres, penetrates the core of Calzabigi’s drama. Act II, which for Romain Rolland, the distinguished French novelist-scholar of the late 19th and early 20th centuries, was “the most moving…

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ORFEO ED EURIDICE: The Opera of Unanswered Cries

in all opera,” creates between its two parts a perfect equilibrium: hell then heaven, darkness then light, sombre then limpid orchestration, with Orfeo in his traversal of both realms providing the link between them. The opera’s ceremonial C-major overture may not live up to Gluck’s belief (subsequently expounded in that Alceste preface) that an “overture ought to warn the spectators of the action that is to be represented to them”; the traditional 18th-century happy ending complete with suite of decorative dances may contradict sense and dramatic momentum. The piece, after all, was premiered on an emperor’s name day, and even as it stands, the most enlightened 18th-century aristocrat might be forgiven some discomfort on sitting through quite so unadorned a festive entertainment.

I used earlier the phrase “Orfeo in its original form”; for confusingly, the opera exists in more than one authentic form and in several unauthentic ones. The very brevity of the 1762 score, though its local success set European cognoscenti buzzing, rendered it disconcerting to most contemporary tastes – it was simply too plain-spoken. When in 1774 Gluck presented the work at the Paris Opera as Orphée et Eurydice, it may well have been this that prompted him to enlarge it as he did. The Paris version might almost be deemed a new opera, expanded from the old. To satisfy local tastes and cope with local performing exigencies, he altered the original instrumentation, added much new music (notably the D-minor flute solo in the Elysian Fields scene), and recast Orpheus for the high tenor Joseph Legros. The

The COC presents Orfeo ed Euridice. David Daniels as Orfeo and Isabel Bayrakdarian as Euridice in the Lyric Opera of Chicago production, 2006. Photo: Robert Kusel

Canadian Opera Company 2010/2011 Season

ORFEO ED EURIDICE: The Opera of Unanswered Cries

immediacy of the original was distanced – and in 1859, 72 years after Gluck’s death, when Berlioz prepared a Paris revival of the opera, returning a shortened, re-ordered form of the 1774 Orphée to the 1762 alto pitch for the great mezzo-soprano Pauline Viardot, the next stage of that distancing was prepared. Viardot herself was one of the greatest operatic actresses of her (or any) day, but in later years the hero’s part tended to become the preserve of oratorio contraltos; the emotional predicament burning beneath the classical simplicities of the original became hard to detect, unless a performer of Viardot-like gifts filled the leading role. For at least a century a post-Berlioz composite of all previous scores, “back-translated” into Italian, such as was published by Ricordi in Italy and Novello in England, was the Orfeo edition most often performed – and the distancing process was complete. All the various versions of Orfeo and Orphée demand performance; none can be sacrificed. Yet if we wish to recover in its keenest, purest, most nakedly affecting form Gluck’s response to the myth about the power of art to triumph over mortality, it is to the original Orfeo ed Euridice, that we shall need to turn.

Max Loppert, born in 1946 in Johannesburg, was chief critic of the London Financial Times (1980 – 96) and assistant editor of Opera (1986 – 1997). He now lives in Italy, acting as a northeast Italy correspondent for Opera and contributing to other music journals and periodicals while completely his study of Gluck’s operas. This article originated with Lyric Opera of Chicago, 2006, reprinted with permission. The COC presents Orfeo ed Euridice. Isabel Bayrakdarian as Euridice and David Daniels as Orfeo in the Lyric Opera of Chicago production, 2006. Photo: Robert Kusel

For further insights into Orfeo ed Euridice, please read Suzanne Vanstone’s interview with director Robert Carsen in the spring issue of Prelude, available online at coc.ca.

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Canadian Opera Company 2010/2011 Season

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

Canadian Opera Company 2010/2011 Season

Ticket Services Canadian Opera Company subscriptions and individual tickets are available through COC Ticket Services ONLINE: www.coc.ca BY PHONE: 416-363-8231 or long distance 1-800-250-4653 Monday to Friday – 10 a.m. to 6 p.m. Saturday – 10 a.m. to 4 p.m. IN PERSON: Four Seasons Centre Box Office 145 Queen St. W. Monday to Saturday – 11 a.m. to 6 p.m. or through first intermission Sunday (performance days only) – 11 a.m. to 3 p.m. or through first intermission The Four Seasons Centre Box Office also services ticketing needs for The National Ballet of Canada and all other Four Seasons Centre events. Group Sales Groups of 10 or more enjoy savings on regular individual ticket prices. For more information or to reserve seats call 416-306-2356. Parking There is parking on a first-come, first-served basis for about 200 vehicles underneath the Four Seasons Centre. The entrance is located on the west side of York Street, south of Queen Street. Additional parking is conveniently located just steps away in the Green P lot underneath Nathan Phillips Square. For directions visit www.greenp.com. Four Seasons Centre Facility Tours Regularly scheduled tours of the Four Seasons Centre take place on most Saturdays at noon. Please visit www.coc.ca for complete schedule. To inquire about private group tours please call 416-363-6671. BMO Financial Group Pre-Performance Opera Chats The Canadian Opera Company Volunteer Speakers Bureau offers free, insightful chats about the stories, music and background of all COC performances, 45 minutes prior to each performance in the Richard Bradshaw Amphitheatre. Food and Beverage Service 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 for the Performing Arts is available for rental for all of your presentation, meeting or special events needs, with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit www.fourseasonscentre.ca or call 416-363-6671. The Opera Shop Located on the orchestra level of the Isadore and Rosalie Sharpe City Room, the COC's Opera Shop offers a fine selection of opera recordings on CD and DVD, as well as opera-related books, giftware and COC souvenirs.

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