Prelude Fall 2010

SEASON

Prelude

2010 ·2011SEASON

T H E VOICE O F T H E C A N A D I A N O P E R A C O M P A N Y

fall 2010 · VOLUME 18 · NUMBER 1

IN THIS ISSUE the heart of verdi’s aida celebrating our ensemble studio creating operas, creating audiences aschenbach’s journey interview with yoshi oida congratulations david stanleyporter parlando, the coc’s new blog the coc introduces new standing room spaces

Message from the General Director, Alexander Neef Our commitment to collaborate with exceptional Canadian and international artists and produce opera of the highest standards lives on in the COC’s 61st season with two new productions, two COC premieres, and brilliant, imaginative productions from around the world. And, not one of them has been seen on the COC stage in over 15 years.

This fall, the artistic team that brought us our spectacular War and Peace only two years ago returns with a new production of Verdi’s Aida. COC Music Director, Johannes Debus – fresh from his summer successes at the Spoleto and Tanglewood festivals – and COC favourite director Tim Albery – bringing his signature dramatic sensibility to the opera – are at the helm. I am also very proud to welcome the most sought-after Verdi soprano of our time, Sondra Radvanovsky, who joins us for her COC and role debut as Aida. She, and one of the brightest young Canadian singers in the world today, Michele Capalbo, will share this demanding role.

Paired with Aida is one of the most beautiful productions of Britten’s Death in Venice available onstage today. Audiences in Aldeburgh, Bregenz, Prague and Lyon have already raved about this production which was conceived and directed by the great Yoshi Oida. I am especially pleased that the opera’s original conductor, Steuart Bedford, will be here to lead our musicians and give us all the benefit of his vast experience with Britten’s final masterpiece.

Opera is a continually changing and contemporary art form and one which entices and invites active participation from its audience. With the new $12 standing room positions in the opera house, a fifth season of our extremely popular free concerts, and the remarkable amount of information available on our comprehensive website, we are able to give everyone as many opportunities as possible to experience, enjoy and interact with the Canadian Opera Company. Engaging aficionados and attracting new audiences is, beyond our desire to create great art, a primary goal.

When we announced our 61st season last January, the excitement was palpable. Now that it is here, join us at the Four Seasons Centre and experience it for yourself!

Alexander Neef recommends The Betrothed (I promessi sposi) by Alessandro Manzoni This fall, General Director Alexander Neef recommends The Betrothed (I promessi sposi) by Alessandro Manzoni.

Set in Lombardy during the Spanish occupation of the late 1620s, The Betrothed tells the story of two young lovers, Renzo and Lucia, prevented from marrying by the petty tyrant Don Rodrigo, who desires Lucia for himself. Forced to flee, they are then cruelly separated, and must face many dangers including plague, famine and imprisonment, and confront a variety of strange characters – the mysterious Nun of Monza, the fiery Father Cristoforo and the sinister “'Unnamed” – in their struggle to be reunited. A vigorous portrayal of enduring passion, The Betrothed’s exploration of love, power and faith presents a whirling panorama of 17th-century Italian life.

Alessandro Manzoni’s 1827 work ranks as the most famous and widely read novel in the Italian language and was later made into an opera by Amilcare Ponchielli (the composer of La Gioconda) in 1856. Giuseppe Verdi wrote his Requiem to commemorate the first anniversary of Manzoni’s death in 1874, only three years after the premiere of Aida in 1871.

Available at the Opera Shop or at coc.ca Penguin Classics, $22.25 including tax General Director Alexander Neef. Photo: Michael Cooper Cover: Preliminary costume concepts by Aida costume designer Jon Morrell. Photo: COC 2 PRELUDE MAGAZINE

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PRELUDE MAGAZINE 3

The Heart of Verdi’s Aida

by Gianmarco Segato Whether we are in the cutthroat boardroom of his Ring Cycle’s Götterdämmerung, the decaying country estate of his Rodelinda or on the blazing battlefields of his War and Peace, stage director Tim Albery has consistently delivered exciting theatrical experiences to Canadian Opera Company audiences with his probing, original interpretations. He now returns to direct our new production of Verdi’s Aida, which is being presented by the company for the first time in 25 years.

Despite the huge variety of subjects that Giuseppe Verdi treated throughout his long career, he consistently returned to a number of key themes that were clearly of great importance to him, and crossed all boundaries of time, period and place. Aida is a case in point: its Egyptian setting was relatively unimportant to the composer in comparison to the opportunities it afforded to work through those universal themes that interested him the most.

These included familial relationships, particularly those between father and daughter; the pressures that patriotic duty impose on personal happiness and the struggle of peoples to resist oppressive institutions; all of which are at Aida’s forefront and transcend the Egyptian template imposed upon Verdi by the circumstances of its commission.

Aida has become so connected in the public imagination with the grand spectacle of productions mounted at Verona’s Arena, Rome’s Baths of Caracalla or the Skydome-type extravaganzas of the 1980s, that it is easy to overlook the fact that beneath the hordes of panthers, herds of elephants, scores of extras and faux-Egyptian trappings lies an intimate story. Its centre is the love triangle between Aida, a foreign princess held captive in the Egyptian court; Amneris, an Egyptian princess; and the man they both love, Radames. With the exception of a couple of key choral scenes, Aida is mainly focused on the inner conflicts of its principal characters which makes it, in the words of Verdi scholar John Ardoin, “a watershed in the progress of opera, a high ground of humanism… it is the most intimate of grand operas.”

Soldiers’ helmets by Aida costume designer Jon Morrell. Photo: COC 4 PRELUDE MAGAZINE

The tradition of using animals in Act II’s victory scene originated at the opera’s 1871 Cairo premiere where elephants and camels paraded across the stage (zebras, giraffes, ostriches and more were also planned).

However, the specific association of Aida with Egypt’s illustrious past goes well beyond these superficial elements and can be traced to the fascinating circumstances that surround its commission. Ismail Pasha, who was Khedive (the title used by the viceroy of Egypt in the time of Turkish rule from 1867 – 1914), had extravagant and ambitious plans for the progress of his country. He modernized and enlarged commerce and industry, reformed Egypt’s political administration, its courts, schools and universities and brought the country to world attention with the inauguration of the Suez Canal, which inspired him to pronounce: “My country is no longer Africa… I have made it part of Europe.” The Khedive’s desire to commission an opera inspired by Egypt’s glorious past can therefore be seen, at least in part, as politically motivated, to enhance the reputation of his country within modern, mid 19th-century Europe. The piece was meant to showcase the European-style Cairo opera house, built in just six months by Italian architects. Music, and Aida in particular, were part of the Khedive’s political and cultural modernization, that is, Westernization of Egypt.

The synopsis, which was being shown to Verdi in 1870, is credited to Auguste Ferdinand Francois Mariette (1821 – 1881), one of the most notable Egyptologists of his day who also had close connections to the Khedive. Its scenario was subsequently recast in Italian by Antonio Ghislanzoni, with whom Mariette shares equal billing as librettist in the published score. Initially, Verdi did not show much enthusiasm for the Egyptian proposal. At the time he was in his mid-50s, living in semi-retirement and, after the 1867 Paris premiere of his previous opera Don Carlos, repeatedly turned down ideas for further collaboration from its librettist Camille du Locle. After some persuasion, Verdi eventually wrote Aida which had its premiere in Cairo on Christmas Eve, 1871. However, the resulting masterpiece betrays a curious lack of engagement or concern with the specific historical details of its Ancient Egyptian setting. Instead, Verdi used Aida to further develop many of the same musical, dramatic and political themes that had concerned

Reference images from Aida set designer Hildegard Bechtler. Photo: COC

him throughout his career, almost independent of the Egyptian framework provided by the Khedive and Mariette.

In beginning to chart Verdi’s disconnect with Aida’s historical setting, we can look to his longtime association with the Italian Risorgimento (the struggle to found a united Italy) and his ongoing criticism of imperialistic policies. These sympathies were most famously given musical form in the “Chorus of the Hebrew Slaves” from Nabucco (1842), which Italians appropriated as the anthem in their efforts to resist the Austro-Hungarian forces that occupied much of northern Italy at the time. One would perhaps expect to find in Verdi a similar connection to the conflict between Egypt and Ethiopia which lurks in Aida‘s background. In fact, Verdi had definite opinions about his country’s imperialistic ambitions in Africa, commenting thus on the Italian defeat at the Battle of Adowa in Ethiopia: “Alas, we are now in Africa in the role of tyrant – inopportunely, and we shall pay for it. A fine civilization we have, with all its unhappiness! Those people will not know what to do with it, and in many respects they are much more civilized than we!”

On this evidence, it would not have been unreasonable to see Verdi connecting more deeply with the captured Ethiopian slaves in Aida than he had with the Hebrews in Nabucco or, for that matter, with the Flemish nation in Don Carlos. However, as Andrew Porter has shown, “the Aida choruses, while very important, are closer to being part of the strongly coloured background against which the principals play out their personal drama. Of course, it does matter to the Egyptians and the Ethiopians which side wins. But the focus of the opera is never shifted decisively onto them… the rights and wrongs of the Ethiopian invasion are not the opera’s concern. Aida is pretty well without explicit political content.” If Verdi did not find his inspiration in the plight of the Ethiopians in Aida, then we need to look elsewhere to discover what motivated him as he wrote this opera. What we discover, perhaps not unsurprisingly, is Verdi once again returning to those topics which had a greater resonance for him: situations with a universal appeal, beyond the confines of an Ancient Egyptian setting.

Even as early as the 1872 La Scala premiere, the leading Italian critic Filippo Filippi recognized in Aida what he called “a strange duality, or rather conflict between on the one hand, the ideas, the principles, the tendencies and even the scientific procedures of the new school [the grand opera influences of Gounod, Meyerbeer and Wagner] and on the other hand, the composer’s huge affection for his own past.” Here, Filippi is alluding to Verdi’s ongoing preoccupations with father-daughter relationships; with the conflict between the individual and the state; with the hard choices to be made between personal happiness and the greater good. That he continued to focus on these themes in Aida is nowhere better illustrated than in Act III with its masterly progression of intimate arias and dramatic duets.

The sequence begins with Aida’s touching paean to her homeland, “O patria mia,” followed by a heart-wrenching duet with her father Amonasro in which he demands that she save her people by betraying her Egyptian lover. She accomplishes this in the ensuing duet of seduction that she sings with Radames. Essentially, following the grand public scenes of the first two acts (and even these are interspersed with relatively intimate moments), the opera settles into a series of private scenes, mainly monologues and duets, choral only when priests thunder their doom on the hero in Act IV. Indeed, Verdi establishes the human scale of Aida from its opening bars: for the Cairo premiere, he chose to begin the opera with the simple,

short intimate prelude we are used to; for La Scala, he composed a full-scale overture but then thought better of it and removed it after one of the final rehearsals. The original, subtle introduction merges imperceptibly into the opening scene for the high priest Ramfis with its very spare orchestration, followed by the famous tenor aria for Radames, “Celeste Aida,” his private hymn of praise to Aida. The classic love triangle is then quickly established as first Amneris, and then Aida enter to join Radames in a trio.

By opening Aida in this way, Verdi makes it clear that his opera will be mainly character-driven. It is only after firmly establishing these primary human relationships that we are given our first taste of the grand choral scenes for which the opera is so well-known. The King of Egypt enters and announces that Radames will lead Egypt into war against the Ethiopians, prompting the entire court to celebrate with a huge battle chorus. At this juncture Verdi once again seems to avoid, or is uninterested in establishing, an “authentic” Egyptian setting. He could have used the battle chorus to evoke a more exotic, ancient culture, but as musicologist Paul Robinson has stated, the music created for the Egyptians is markedly European, that is, it does not rely on accepted codes for Oriental music. With set pieces such as “Gloria all’Egitto” from Act II, which includes the renowned “Triumphal March,” and the four-square hymn, “Su! Del Nilo,” Verdi associates “Egypt with an aggressively traditional European idiom.”

It therefore seems that even from the point of view of musical form, Verdi was not overly inspired by, or interested in, exploring the Ancient Egyptian elements of the story.

In general, Verdi held strong opinions with regards to how his operas should be staged, but monumental, archaeologically correct designs for Aida do not seem to have been a priority. He had this to say about the opera’s Milan premiere: “Du Locle [Verdi’s librettist for Don Carlos] says that in Milan he found some fault with the mise-en-scène of Aida – but let’s understand each other: if one wants the drama and music to be a pretext for a display of scenery and costumes, he is right. But if the scenery and costumes are to serve the drama (which they should), the mise-en-scène in Milan was more than sufficient… I don’t like a staging that overwhelms everything and becomes the principal object.” Clearly for Verdi, the most important consideration was that the story be told in a manner that spoke to his audience, an aim that did not necessarily involve grandiose, scene-stealing sets and armies of extras.

The lasting appeal of any great work of art usually stems from its ability to speak to audiences universally, transcending the time periods of its setting and composition. The Ancient Egyptian template given to Verdi for Aida was largely a function of the political aspirations of an African nation which at the time was attempting to enhance its profile in the West. As evidenced by the music he composed, and by his determination to focus on those elements of situation and character that had long been important to him, Verdi acknowledged the exotic setting only peripherally, leaving us with a masterpiece of music drama that engages on a much more fundamental, human level.

Gianmarco Segato is Retail and Editorial Co-ordinator at the Canadian Opera Company.

For further insights into Aida, please read the interview with COC Music Director Johannes Debus in the fall house program and listen to podcasts online at coc.ca.

Aida has been generously underwritten in part by Tim and Frances Price.

PRELUDE MAGAZINE 5

Celebrating our Ensemble Studio

by Caitlin Coull The Canadian Opera Company’s Ensemble Studio enters its 31st season with an ever-increasing international profile and, consequently, a healthy roster of talented young artists on the cusp of world class careers. Headed by the COC’s Liz Upchurch, the training program offers singers, coaches, directors and conductors valuable opportunities to develop professional performance skills through coachings, concerts, educational appearances and mainstage roles. In the wake of the successful spring 2010 Ensemble Studio mainstage performance of Idomeneo, the Ensemble Studio will mount a presentation of The Magic Flute, also on the mainstage.

The principal roles in this special January 17 performance will be sung by Ensemble Studio members.

In addition to mainstage performances, Ensemble Studio alumni are often featured in the Free Concert Series in the Richard Bradshaw Amphitheatre, presented by National Bank. This season the exciting line-up includes vocal recitals by tenor Lawrence Wiliford and bassbaritone Robert Gleadow, a solo piano recital by former Ensemble Studio intern coach Christopher Mokrzewski, and a concert by the University of Toronto Faculty of Music, directed and accompanied by Ensemble alumnus and music staff member Steven Philcox.

This year we welcome four new Ensemble Studio members: sopranos Ambur Braid and Jacqueline Woodley, mezzo-soprano Rihab Chaieb, and tenor Christopher Enns.

Born in Terrace, B.C., Ambur Braid is a Toronto-based soprano who holds a bachelor of music degree from The Glenn Gould School of The Royal Conservatory of Music and a master of music from the San Francisco Conservatory of Music. Ambur will undertake the role of the Danish Lady, Youth, and Solo Soprano 1 in Death in Venice, understudy Queen of the Night in The Magic Flute and sing the same role in the Ensemble Studio performance. She will also understudy Clorinda and Echo in the spring productions of La Cenerentola and Ariadne auf Naxos, respectively, and sing Amore in Orfeo ed Euridice. As part of the Xstrata Ensemble Studio School tour, Ambur will perform the role of Clorinda in Cinderella.

Ambur Braid

6 PRELUDE MAGAZINE

Rihab Chaieb

Neil Craighead

A native of Southhampton, Ontario, soprano Jacqueline Woodley holds both her bachelor in vocal performance and master’s degree in opera performance from McGill University. This season Jacqueline will begin by singing the roles of the Lace Seller and Solo Soprano 2 in Death in Venice. She will understudy the role of Papagena in The Magic Flute and will sing the same role in the Ensemble Studio performance. In the spring Jacqueline will understudy the roles of Naiad and Amor in Ariadne auf Naxos and Orfeo ed Euridice, respectively. She will also sing the role of Sally Smith/Isis in the school tour of Isis and the Seven Scorpions.

Tunisian-born mezzo-soprano Rihab Chaieb graduated this year from the Schulich School of Music at McGill University with a bachelor of music in vocal performance. With the COC this fall she will tackle the roles of the French Mother and Solo Mezzo-Soprano 3 in Death in Venice. In the winter Rihab will sing the roles of the Third Lady in the Ensemble Studio performance of The Magic Flute, the Second Secretary in Nixon in China, Tisbe in La Cenerentola, and Cinderella in the school tour of the eponymous opera. She will also understudy the Third Lady in the mainstage The Magic Flute and Dryad in Ariadne auf Naxos.

Born in Manitoba, tenor Christopher Enns holds his bachelor of vocal performance from the University of Manitoba, and recently graduated from the University of Toronto with a diploma in operatic performance.

He will sing the roles of the American, Youth, Glassmaker, and Strolling Player in Death in Venice, Tamino in the Ensemble Studio performance of The Magic Flute, Scaramuccio in Ariadne auf Naxos, and Professor Hornsby/Set/Rami in the school tour of Isis and the Seven Scorpions. Additionally, he will understudy the roles of Tamino in the mainstage The Magic Flute and the Messenger in Aida. Over the summer, Christopher was engaged with both Saskatoon Opera and the Chautauqua Institute in upstate New York.

The COC is also pleased to welcome the return of Ensemble Studio sopranos Simone Osborne and Ileana Montalbetti, mezzo-soprano Wallis Giunta, baritone Adrian Kramer, bass-baritone Neil Craighead, bass Michael Uloth, and intern coach Anne Larlee.

Christopher Enns

Wallis Giunta

Adrian Kramer

November and part of December in Rome covering in Moïse et Pharaon, which Riccardo Muti will conduct.

Returning for her second season, mezzo-soprano Wallis Giunta will be singing the English Lady and Youth in Death in Venice, the Second Lady in the mainstage and Ensemble Studio performances of The Magic Flute, and the roles of Molly Brown, Nephthys, and Tahemet in the school tour of Isis and the Seven Scorpions. Additionally, she will understudy Nancy T’sang in Nixon in China and Angelina in La Cenerentola, and will rolestudy the Composer in Ariadne auf Naxos.

In July Wallis enjoyed a successful turn as Nancy in Albert Herring at Opera on the Avalon in St. John’s, Newfoundland.

(l – r) Krisztina Szabó as Idamante and Isabel Bayrakdarian as Ilia in the COC’s production of Idomeneo, 2010. Photo: Gary Beechey

Simone Osborne has much to look forward to this season as she will share the mainstage role of Pamina in The Magic Flute with noted soprano Isabel Bayrakdarian. She will also sing the role in the Ensemble Studio performance. Additionally, Simone will appear as the Strolling Player in Death in Venice, Naiad in Ariadne auf Naxos, Sally Smith/Isis in the school tour of Isis and the Seven Scorpions, and will understudy Euridice in Orfeo ed Euridice. Language development is a crucial part of every young singer’s training, and Simone spent the majority of her summer in England seeing opera performances, as well as in Italy, refining her Italian and enjoying the cultural landscape.

Ileana Montalbetti’s upcoming season will also be a busy one. She will understudy the Priestess in Aida, the First Lady in The Magic Flute, Pat Nixon in Nixon in China, and will rolestudy Ariadne in Ariadne auf Naxos. She will appear on the mainstage as the Russian Mother and Newspaper Seller in Death in Venice, the First Lady in the Ensemble Studio performance of The Magic Flute, and Clorinda in La Cenerentola.

Ileana is fresh from a summer at the Chautauqua Institute, where she studied with noted pedagogue Marlena Malas and sang the role of the Countess in The Marriage of Figaro. Ileana will spend the month of

Anne Larlee

Ileana Montalbetti

Simone Osborne

Adrian Kramer returns to the COC with a full season ahead of him.

The Guelph, Ontario baritone will sing the roles of the Lido Boatman, Youth, and Hotel Waiter in Death in Venice, Papageno in the Ensemble Studio performance of The Magic Flute, and David Sands, Osiris, and the Scorpions in the school tour of Isis and the Seven Scorpions. He will understudy the English Clerk in Death in Venice, Chou En-lai in Nixon in China, Papageno in The Magic Flute, Dandini in La Cenerentola, and the Wigmaker/Harlequin in Ariadne auf Naxos. Over the summer he returned to the Chautauqua Institution for his second season to sing the role of Schaunard in La Bohème, and studied at the prestigious Steans Institute for Young Artists at the Ravinia Festival in Chicago.

Bass-baritone Neil Craighead will kick the season off with the roles of the Russian Father and Youth in Death in Venice, and the First Priest, the Speaker and the Second Armed Man in the Ensemble Studio performance of The Magic Flute, and the King and Narrator in the school tour of Cinderella. He will also understudy the King in Aida, the Speaker and Second Armed Man in The Magic Flute, Alidoro in La Cenerentola, and the roles of the Lackey and Truffaldino in Ariadne auf Naxos. This summer Neil travelled to St. Andrews By-the-Sea, N.B., to work with Canadian soprano and voice teacher Wendy Neilsen and director Tom Diamond.

Embarking on his third season with the Ensemble Studio, bass Michael Uloth is slated to sing several roles including the Priest in St. Mark’s in Death in Venice, the Second Armed Man in The Magic Flute, Sarastro in the Ensemble Studio performance of The Magic Flute, Truffaldino in Ariadne auf Naxos, and the King and Narrator in the school tour of Cinderella. Michael will rolestudy Ramfis in Aida, and understudy Sarastro in The Magic Flute.

Michael Uloth

Jacqueline Woodley

Liz Upchurch

Head of the Ensemble Studio

PRELUDE MAGAZINE 7

Ileana Montalbetti as Elettra in the COC’s Ensemble Studio performance of Idomeneo, 2010. Photo: Michael Cooper

Campbellton, New Brunswick native Anne Larlee returns for her second season as intern coach. She will serve as rehearsal pianist for the mainstage productions of Aida, The Magic Flute and Orfeo ed Euridice. Over the summer Anne was thrilled to work at the Glyndebourne Festival on Così fan tutte under the direction of the late Sir Charles Mackerras and James Gaffigan. She also played for Wendy Nielsen in St. Andrews By-the-Sea, N.B., and studied with noted vocal coach Martin Isepp.

The recent graduation of sopranos Teiya Kasahara, Erin Fisher, and Laura Albino, and tenors Adam Luther and Michael Barrett was celebrated last May with Les Adieux, a free concert in the Richard Bradshaw Amphitheatre. Many graduates of the program return to the COC throughout their careers, each time representing a homecoming of sorts. This season we will welcome back several alumni in mainstage roles. In the fall season soprano Betty Waynne Allison will sing the role of the Priestess in Aida, and the large cast of Death in Venice will include tenor Michael Colvin understudying the lead role of Gustav von Aschenbach, mezzo-soprano Sonya Gosse as the Russian Nanny, tenor Stephen McClare singing a Gondolier, and Samuel Tak-Ho Tam serving as assistant conductor. The winter production of The Magic Flute will feature acclaimed soprano Isabel Bayrakdarian as Pamina, soprano Betty Waynne Allison as the First Lady, mezzo-soprano Lauren Segal as the Third Lady, bass-baritone Robert Gleadow as the Speaker, and soprano Lisa DiMaria as Papagena. Lauren Segal will also sing the role of Nancy T’sang in the COC premiere of Nixon in China. The spring season celebrates the return of yet more distinguished alumni: Ariadne auf Naxos will feature baritone Peter Barrett as Harlequin, Teiya Kasahara as Echo, Lauren Segal as Dryad, and Roger Honeywell singing the role of 8 PRELUDE MAGAZINE

the Officer. Isabel Bayrakdarian returns in the spring production of Orfeo ed Euridice in the title soprano role.

Since its inception in 1980 our Ensemble Studio members have become an integral part of the COC’s musical life. The educational and creative opportunities afforded these young artists are invaluable and audiences, adult and student alike, benefit enormously from their artistic passion and contribution.

Caitlin Coull is Communications Manager, Special Initiatives at the Canadian Opera Company.

For further insights into the Ensemble Studio, read Katherine Semcesen’s article on the Xstrata Ensemble Studio School Tour in the COC fall house program as well as informative articles online at coc.ca.

The COC Ensemble Studio is Canada’s premier training program for young opera professionals and provides advanced instruction, hands-on experience, and career development opportunities. The Ensemble Studio is generously supported by the Government of Canada through the Department of Canadian Heritage, ARIAS (formerly The Canadian Opera Volunteer Committee), The John A. Cook Young Artist Development Fund, Michael & Lora Gibbens, Ethel Harris, The Audrey S. Hellyer Charitable Foundation, Patrick & Barbara Keenan, The Hal Jackman Fund at the Ontario Arts Foundation, Jo Lander, Ruby Mercer Fund, George Cedric Metcalf Charitable Foundation, Roger D. Moore Ensemble Studio Endowment Fund, RBC Foundation, Katalin Schäfer, The Slaight Family, The Stratton Trust, William & Phyllis Waters, and an anonymous donor.

Have you visited coc.ca lately?

Keep up to date and entertained with our Death in Venice Book Club, opera-themed quizzes, General Director Alexander Neef’s blog, the new COC Blog Parlando, the Bee Blog, and a peek behind-the-scenes at our season’s offerings. See and hear samples of operatic terms with our glossary, learn more about the history of the COC with our interactive timeline, and listen to podcasts for each opera as well as in-depth interviews with a variety of COC artists.

In order to provide you with the most current COC publications as soon as they are hot off the press, we are now including the theatre house program and Prelude magazine online. In future, we will be asking if you wish to help save a tree and prefer immediate electronic gratification. If so, you may opt out of receiving a printed copy by mail and enjoy reading the latest news online.

All this and much more at coc.ca!

Opera Exchange: Death in Venice The Opera Exchange symposia return for the 2010/2011 season. The year begins with a deeper exploration of Britten’s Death in Venice. Gain greater insight into Britten’s intriguing opera about the loss of inspiration, love, beauty, and desperate desires in this half-day multidisciplinary symposium with academic specialists and COC production team members.

Presented in partnership with the Munk Centre for International Studies and the Faculty of Music at the University of Toronto, the Opera Exchange will provide you with insightful entry points into the story, music, themes and relationships in Britten’s final opera.

Saturday, October 16, 2010 9:30 a.m. to 1 p.m.

Location: Walter Hall, Edward Johnson Building, Faculty of Music, 80 Queen’s Park (at Museum subway station) Cost: $20 adult (Student & Faculty discounts available; Free for U of T Faculty of Music students with valid student card and photo ID)

Tickets: Contact Ticket Services at 416-363-8231 or purchase online at coc.ca

Presented in partnership with:

FACULTY O F M U S I C

PRELUDE MAGAZINE 9

Creating Operas, Creating Audiences

by Katherine Semcesen It is one thing to engage in opera as an audience member at a mainstage production, but actively participating in the creative process brings forth a deeper appreciation for the artistic collaboration and multiple art forms that create an opera. Imagine being able to explore this artistic process as a librettist, composer, director, performer, designer, stage manager, musician, or one of the many other positions that contribute to the development of a piece. Now imagine you’re doing it at the tender age of 10. This valuable, hands-on exploration of creative expression is at the core of the Canadian Opera Company’s popular in-school Create an Opera program.

The eight-week Create an Opera program allows students at all grade levels the opportunity to create a new opera, under the mentorship of professional artists specially trained to work with youth. Students along with their teachers become active participants in opera and the storytelling process by creating their very own work from scratch.

What exactly goes into the creation of an opera? Here’s a sneak peak*: WEEK ONE – Introduction and Picking a Theme Artists introduce opera to students in an accessible way: opera is simply a story told through music, drama and design.

Students develop their collaborative skills throughout the process, starting with deciding on a theme as a group. The program is tailored to meet the specific Ontario curriculum expectations with students encouraged to use their areas of study as inspiration for their opera. Themes have included: Geese Migration (Gr. 1 Science), Ancient Civilizations (Gr. 4 to 6 Social Studies), Government (Gr. 4 Social Studies), the Environment (Gr. 1 to 8 Science) and adapting novels into operas (Gr. 1 to 12 Music, Literacy and Language Arts). The humanistic quality of opera allows for exploration of social issues and character traits within these educational disciplines.

*This is a sample of a Create an Opera program outline.

Photos: COC 10 PRELUDE MAGAZINE

WEEK TWO – The Art of Libretto Writing Students discover the power of the spoken word within an artistic context and explore the relationship between text and music. The foundation of the opera is laid with the creation of an original story outline, and the composition of recitatives, arias, small ensembles and choruses.

WEEK THREE – Healthy Vocal Technique – No microphones allowed!

A singer teaches the students how to project like an opera star without hurting their young voices. Since opera singers do not use microphones, students learn how to use their bodies to produce a healthy sound.

WEEK SIX – Principles of Design A guest designer works with the students to establish the visual language of their opera. Students work on making costumes, props and/or small set pieces depending on the needs of their libretto.

Knowing that schools do not work with a “James Cameron budget,” designers often demonstrate how creative and imaginative visual aspects of an opera can be made with materials collected from the playground, home or classroom.

WEEK FOUR – Exploration of Dramatic Elements of Music A drama specialist leads the students through drama activities focused on characterization and building of performance skills.

The students later incorporate these movements into the staging of their opera.

WEEK SEVEN & WEEK EIGHT – Putting it all Together Similar to the real opera world, rehearsing the actual opera takes up only a small percentage of the entire creative process. Often in the final week, the classes showcase their hard work in a special performance for a supportive audience of families and friends.

WEEK FIVE – Putting the Opera on its Feet The artists use the drama and performing skills acquired in the previous sessions to stage the opera. Students become directors and decide how best to utilize space (which is often a gym floor!) to convey their story.

“For me this opera was like a journey, because on journeys you find new things and experience new things that you learn from… Sure, most of us are going to be nervous. I am going to be nervous when it’s time for me to sing by myself. But all of that is normal. This opera was great and I hope that I get a chance to do it again.”

– Student, Terraview-Willowfield PS, on the Create an Opera program

Each year 700 students from the Greater Toronto Area as well as Central and Southern Ontario thrive in this creative environment.

The COC is pleased to welcome the Budd Sugarman Foundation as the newest supporter of the COC’s Create an Opera education program. One of the foundation’s trustees, Marion Soloway, herself a social worker, sees immense value in creating opportunities in the community for youth to explore their creative side, while developing life skills. She says, “It is often said that opera is for the elite. This is not the case at the COC. The COC believes deeply that the entire community should have access to its programs. The Create an Opera program is one such initiative and provides youth with the opportunity to tap into their creative process. The values espoused by this program resonate deeply with the Budd Sugarman Foundation and it is an honour to support such a remarkable project.”

Learn more about the Create an Opera program at coc.ca or contact COC Education and Outreach at 416-306-2392.

Katherine Semcesen is Senior Manager, Education and Outreach at the Canadian Opera Company.

PRELUDE MAGAZINE 11

Aschenbach’s Journey Interview with Yoshi Oida

by Suzanne Vanstone rejuvenation in the glory of Venice. Instead he encounters a city that is reeling from a cholera epidemic and in his desperate search for inspiration he becomes entranced with the young boy Tadzio’s exuberance and vibrancy.

“This is great music by Britten. So what is the best way to tell this story to the public with this music?” Oida asks. “Benjamin Britten knows theatre very well. The detail of the sound describes the psychology of Aschenbach and we need to discover the meaning of the sound. The music of Britten builds up the life of Aschenbach and creates the theatre around it. We have played at the Aldeburgh Festival, and then Bregenz, and in Prague, and Lyon. And everyone seems to like this theatrical staging within the form of opera.”

Indeed they did – this production has garnered rave reviews everywhere it has been mounted.

Oida continues, “I want to tell the life of Aschenbach. He was a famous man, and a respected man, but he was trapped in his life.

Because of his fame and expectations upon him, he was almost a prisoner of society. And at the end of his life, feeling that he’s going to die because of the sickness, he seeks freedom. By chance, he meets someone, a boy. How, through this boy, can he gain his freedom? I don’t think it’s a love story between a man and a boy, but it’s about the struggle to gain that freedom.”

Yoshi Oida, Director

It quickly becomes apparent in discussion with Death in Venice director Yoshi Oida that the word “concept” is not one he embraces readily. An incredibly accomplished artist himself – a film/theatre actor, a film/theatre director and a writer – Oida is acclaimed for blending Eastern and Western sensibilities to get at the heart of human emotion. For him, the set, the costumes, the lighting are certainly an integral feature of a performance, but not as highly valued as the personal commitment on stage. One gets the distinct impression that his function in rehearsal is more as a guide, rather than as a director.

Oida left his native Japan in 1968 to work in Paris with the legendary Peter Brook at his international theatre company, now located in the Bouffes du Nord. Brook is acclaimed for his foray into experimental theatre based on innovation, inspiration and improvisation. Oida has become a prominent member and teacher within the company and continues to perform there as an actor.

Benjamin Britten’s final opera Death in Venice, based on Thomas Mann’s novella, centres around the character of Aschenbach, an aging German writer who has lost his creative spark, and hopes for 12 PRELUDE MAGAZINE

Oida talks about the element of passive suicide and draws parallels with the famous Japanese writer Yukio Mishima, who, after objecting to the political changes in his country, committed ritual suicide as a release from life. Oida says, “You don’t choose to be born – you come into the world against your wish – it’s a choice your parents made.

And after you’re born, you have education, religion, morals – all the things society says you have to follow. You are a prisoner of society, a prisoner of the system. The one free choice you have is when to finish your life. Aschenbach could have left Venice and escaped the cholera, but he chose to stay. His action is like a suicide. He moves towards death, towards that freedom, that choice.”

Oida discusses how the 1971 film directed by Luchino Visconti differs from his approach. “I want to tell the story through the singing.

Visconti made it about the aesthetic beauty of life. But on the stage it is difficult to describe Venice. I want it to be a suggestion of Venice, not a rebuilding. That is the magic of the theatre – using few elements and depending on the imagination of the public. In a film, you don’t need as much imagination, they show everything. Film can achieve that, but in the theatre, I want to give the audience space to imagine Venice and life and love. This piece has such large emotion, but it is balanced by very intimate moments – Aschenbach’s intimate thoughts. And on the stage that can be accomplished much more directly than in film.”

The Edwardian costumes are simple but beautiful and were designed

by Richard Hudson, who was also the set designer for The Lion King.

The set was designed by Thomas Schenk and is austere but evokes the magic and illness that permeates Venice. A few planks that form a platform are laid across a pit of water onstage to represent the canals, and images are projected onto a small screen on the side of the set. Oida continues, “The water represents Venice. And it also often represents the emotions of Aschenbach – continually moving and changing.” The lighting enhances this fluctuating mood and also serves to delineate the various locations the opera is set in.

British tenor Alan Oke makes his COC debut with Death in Venice, but he has performed this role in this production numerous times and has been much lauded for it. Oida speaks very highly of Oke’s performance of this demanding character. “He is a prize! I am an actor, more so than a director, so I worked with him in the beginning and he’s a very clever man. He understood everything I wanted to do. He took my ideas, and developed them so well. It’s almost as if you don’t see him as an opera singer, but you see the personality and life of the famous writer.”

And Oida is adamant about not “seeing” the performer – be they singer, actor or dancer. He wants to see the human being. This prevails in the books he has written about the craft of acting and performing. He wants to reveal human life, through music, through

movement, through text to illustrate the strangeness, the mystery and the beauty of individuals. He does not require an intricate set or ornate costumes and feels that sometimes this can be a hindrance to unveiling the essence of human emotion. He says, “A singer can be helped by the set and costumes, but I don’t want the singer to become the decoration for the set. It’s a beautiful contribution, but after you have looked at a set for five minutes you don’t see it anymore. But you can watch human beings crying or shouting or hesitating, for a much longer period. The human face is so fascinating.”

The late Colin Graham, who was the director of the premiere of Death in Venice in Aldeburgh in 1973, commented that Britten found the Visconti film too suggestive and indulgent and therefore decided to depict the roles of Tadzio and his family using non-speaking dancers. Again, Oida is less concerned with the actual beauty of the dancer portraying Aschenbach’s desire, than he is about the feelings that evokes. He says, “When you read Mann’s book, you can imagine anything and everything of how you think Tadzio should look. I’m sure that everyone did not agree on the choice of boy by Visconti. Already you’ve lost the ability to imagine.” Oida feels the film almost freezes images into reality thus stifling the audience’s imagination. And he reminds us that when you love someone it is purely subjective. They can be beautiful in your eyes, but may not be as desirable in someone else’s. “Aschenbach thinks Tadzio’s a beautiful boy, but others may think he is ordinary. So I try not to show the beauty of the boy, he is more in the background. The choreography is beautiful – it’s not dance, it’s movement. It’s not important to see the relationship between Aschenbach and the boy, what’s important is how Aschenbach reacts to him.”

Oida relies on his audience to interact and create living theatre. He gently demands of them to become fully involved and envision the journey with him. He concludes, “In this production of Death in Venice, I am telling a story about the end of a man’s life, according to Mann’s novel, the music of Benjamin Britten and the text of Myfanwy Piper. But I cannot create a concrete message or explanation for von Aschenbach’s actions. All I can do is demonstrate how the life of every individual is unexpected and mysterious.”

Suzanne Vanstone is Senior Communications Manager, Editorial at the Canadian Opera Company.

For further insights into Death in Venice, please read Gavin Plumley’s article in the COC fall house program and join the COC’s online Book Club with tenor Alan Oke to read Death in Venice.

Death in Venice has been generously underwritten in part by David Stanley-Porter.

Previous page and left: The COC presents Death in Venice (co-production between Aldeburgh Festival, Bregenz Festival, Státní opera Praha and Opéra national de Lyon). Scenes from the production in Lyon, 2009. Photos: Bertrand Stofleth

PRELUDE MAGAZINE 13

Congratulations David Stanley-Porter Happy 80th Birthday and Happy 30th Anniversary of Operatours and Classes!

by Suzanne Vanstone In Europe: United Kingdom: Edinburgh, London, Glyndebourne France: Paris, Rouen, Strasbourg, Lyon Belgium: Bruxelles Netherlands: Amsterdam Scandinavia: Copenhagen, Stockholm, Helsinki Germany: Hamburg, Baden-Baden, Bayreuth, Munich, Berlin, Dresden, Düsseldorf, Duisberg, Cologne, Bonn Switzerland: Zurich Austria: Vienna, Salzburg, the Schubertiade in Vorarlberg Eastern Europe: Warsaw, Prague, Budapest, St. Petersburg Italy: Milan, Genoa, Turin, Venice, Trieste, Bologna, Florence, Verona, Rome.

Photo: Karen Walsh

AND he is still planning on visiting Buenos Aires (this November), Barcelona and Madrid (2012) and the new Ring Cycles in San Francisco (2011) and New York (2012).

David Stanley-Porter. Where does one begin? Philanthropist, professor of Latin and Greek studies, tour guide, guild founder, trip planner – yes, he wears all these hats. But you quickly come to realize that, above all else, he is a devoted lover of opera. His devotion and generosity to the COC and his passion for the art form has been evidenced in the many years that David has led opera classes and operatours throughout the world. In fact, 30 years!

It was perhaps set in stone at a very early age. When David was about five years old he listened to the Saturday afternoon Metropolitan Opera broadcasts with his family. When his parents would turn the radio off he would begin to cry, so it became apparent that music would nurture him for the rest of his life. In his late twenties he had the opportunity to work in France and Germany which further cemented his love for opera and classical music.

David founded the London Opera Guild in 1979 and first started opera classes there. Then he met Dory Vanderhoof (former COC director of development) who recognized an opportunity, and so with Lotfi Mansouri’s (former COC General Director) approval David was asked to start classes at the COC. He founded the operatours in 1981 (the first was to San Francisco) and he has just completed the 207th tour – to Paris. The houses and festivals that he has visited read like a veritable who’s who of operatic stages.

In North America: Montreal, New York, Washington, Chicago, San Francisco, Tanglewood, Glimmerglass, Santa Fe. 14 PRELUDE MAGAZINE

If you know David, you know that he has some strong opinions about his likes and dislikes. Here are a few of his fun facts of note: Favourite opera houses to visit: The COC of course because of its sightlines, acoustics, warmth and intimacy. Richard Bradshaw got it absolutely right with his insistence that the focus be on the auditorium and not on any external appearance.

I also love Glyndebourne’s intimacy and ambience in the beautiful Sussex Downs.

Most beautiful opera house: La Fenice of course – you are right back in the 18th century.

Most uncomfortable opera house: Bayreuth – no air conditioning; hard, wooden seating.

Ugliest opera house: Paris-Bastille – it looks like a giant cinema inside, acoustics are poor and it has a cold, unfriendly feeling in the reception halls.

Tours that are most popular: By far new Ring Cycles. They bring out Ring groupies by the dozens. Best-liked Rings were in Copenhagen and Helsinki; worst in Paris at the Châtelet – I have never heard such booing as after the final performance there!

Most memorable moments in an opera house: Robert Carsen’s new production of Rusalka at the Bastille. The scene was changing before our eyes in Act I and suddenly the upper part of the wall came unstuck and plunged to the ground. If Renée Fleming had not been able to move quickly enough, she would not be singing today!

Seeing Canadian tenor Paul Frey being fêted in Bayreuth after his performance of Lohengrin. In those days you could throw flowers onstage and dozens of bouquets were hurled at him during his bows. He caught every one! His beautiful

performance is available on video too.

Seeing Peter Pears sing Captain Vere (Billy Budd) at the Met and the whole house standing up when he came out to take his bow in tribute to his superb interpretation.

What makes a COC Operatour unique: Their reasonable cost in comparison with those advertised commercially; the friendliness of the tour members with each other. It’s like old-home-week as so many have come to know each other through previous tours and classes.

All performances are optional (except of course for Ring Cycles) and a few do pick and choose but most attend every night. And where feasible I offer tickets in different price categories especially at the Met, Chicago, London, Vienna, and Munich.

The important balance between group activities and free time for people to explore at their own pace and choosing, while abroad.

The tours draw a mixture of seasoned opera goers and sophisticated travellers to those who are experiencing opera, and sometimes overseas travel, for the first time. For the most part the participants’ ages are a little older because, as David says, for those under 60 who are often raising families, an opera tour is a luxury.

David started booking tours with Cherry Hill Travel, now Merit Travel, with his friend Suzanne.

“They deal with airfares and insurance and I take care of everything else. Accommodation, tickets, restaurants, buses – that’s what keeps the prices down. He jokes, “Suzanne’s got everything that I haven’t – a nice sunny personality, easy with people and she doesn’t lose her cool quickly. I have a very short fuse compared to her! We’re a very good balance. I also have a wonderful friend, Joel (Dr. Keenleyside), who runs some of the tours.

He’s in my London Guild and when he came on tour with me once I realized he was pure gold.”

There are two opera classes offered at the COC. The “Up and Coming” class prepares people for the operas they will see at the COC, and is always sold out. The other one, a favourite of David’s, is “The History of Opera,” which concentrates on a specific composer or a specific period.

David finds that over the years people’s tastes develop and change. Patrons are getting used to the idea of more contemporary productions and appreciate their worth in the opera lexicon. He says, “Audiences are becoming more sophisticated and interested in hearing opera that isn’t always the mainstream of Verdi and Puccini. They’re interested in operas that are exciting and dramatic – and 20th-century operas

are very dramatic. My tastes have changed too. When I first started listening to opera as an adult, I bought a recording of Peter Grimes, which initially I could not listen to. And now of course Britten is one of my favourite composers.

“One opera composer I love and was so thrilled to introduce to my classes was Jean-Philippe Rameau. I’m just crazy about him and we have five or six videos now of his operas and the classes just loved him. And of course the Ring. The Ring just knocks people sideways. Either you hate it or you’re falling on your knees to get to it.

Wagner is so demanding but he simply takes you out of yourself. I recall vividly one couple saying to me after their first Ring at the Met – how it had changed their lives!

And Wagner, more than any other composer, brings people back for more. His music is a true addiction!

“My favourite voice type is a mezzo-soprano and after that a baritone. They both have the richness of the lower register and also have those wonderful, dramatic high notes.”

Favourite singers? “Birgit Nilsson was one, and Régine Crespin was another – I simply adored her. And Renato Bruson was a wonderful baritone. And, of course, I love Gerald Finley.”

Not only does David give generously of his time and superb knowledge, he also supports the COC as a major donor and is currently partially underwriting this season’s production of Death in Venice in honour of his 80th birthday, which is September 18. The COC Operatours themselves raise considerable money for the company as there is a donation component built into the cost of the tour price in return for a tax receipt. He feels that everything he makes should go right back to the COC. And it does.

Whether it’s through teaching opera classes at the COC or immersing others in the glories of opera abroad, David Stanley-Porter is a true champion of supporting, teaching, touring and loving all things opera. He comments at the end of our interview, “Please don’t think too unkindly about my bragging and boasting. It has really been a remarkable 30 years!” We couldn’t agree more David. We are so grateful for all you have done in support of the COC and equally for spreading your love and passion for opera to so many who then share it with others. Happy 80th and Happy 30th!

Suzanne Vanstone is Senior Communications Manager, Editorial at the Canadian Opera Company.

Listen to a podcast with David Stanley-Porter online at coc.ca

Golden Circle

The Canadian Opera Company’s 2009/2010 Diamond Anniversary season marked six decades of artistic excellence and creative achievements, made possible, in part, through the continued generous support of our annual patron programs.

In addition to the many celebrations surrounding this milestone season, members of the Golden Circle, as key partners in the future of the COC, were invited to experience several exclusive opportunities to engage further with the art of opera.

Following performances of Otello and Maria Stuarda, members of the Golden Circle were invited to step behind-the-curtain and onto the stage of R. Fraser Elliott Hall for a unique experience culminating in a backstage reception, with the cast and creative team who helped make the magic happen on stage.

We look forward to hosting similar events over the 2010/11 season with the aim of bringing our valued supporters, who help ensure the success and continuity of the art form, together with the artists who bring our productions to life.

PRELUDE MAGAZINE 15

The COC Operatours 2010-2011 n.p. new production

c.v. concert version

c. conductor

d. director

The previously announced tours to Buenos Aires for the re-opening of the Teatro Colón, to New York City for the Met’s new Die Walküre

by Robert Lepage, and to San Francisco for Francesca Zambello’s new Ring Cycle are now fully booked. Wait-lists for possible cancellations are available.

Baden-Baden and Zürich January 23 – 31, 2011 The intimate opera houses in both these cities are ideal for experiencing opera. Enjoy first-class opera and symphonic music at Festpielhaus Baden-Baden and Opernhaus Zürich.

MOZART Così fan tutte n.p. with Véronique Gens

ROSSINI Le Comte Ory n.p. with Cecilia Bartoli

WAGNER Tannhäuser n.p. with Nina Stemme, Peter Seiffert

BRAHMS Symphonies Nos. 1 – 4 Munich Philharmonic c. Christian Thielemann

FAURÉ, DVORÁK, SCHUMANN Berlin Philharmonic c. Sir Simon Rattle

Berlin March 13 – 21, 2011 An incredible week of unusual repertory with three new productions at the Deutsche Oper and two visits to Berlin’s unique concert hall, the Philharmonie!

SHOSTAKOVICH, MOZART, BEETHOVEN Philharmonia Quartet

WEBERN, LUTOSLAWSKI, BRAHMS Berlin Philharmonic c. Bernard Haitink with Leif Ove Andsnes, piano WAGNER Tristan und Isolde n.p. c. Donald Runnicles d. Graham Vick with Peter Seiffert, Petra Maria Schnitzer

English National Opera: BERLIOZ La Damnation de Faust n.p.

BRITTEN A Midsummer Night’s Dream n.p.

Barbican: HANDEL Ariodante c.v. with Joyce DiDonato, Marie-Nicole Lemieux SMETANA The Bartered Bride c.v. c. Jirí Belohlávek with an all-Czech cast Royal Ballet: MacMILLAN Manon A triple bill featuring BALANCHINE, McGREGOR, WHELDON Barbican, South Bank and Wigmore Halls: HAYDN, BEETHOVEN, NIELSEN London Symphony Orchestra c. Sir Colin Davis with Mitsuko Uchida, piano HAYDN, MAHLER, BRAHMS London Philharmonic Orchestra c. Vladimir Jurowsky with Christian Gerhaher, baritone Chamber music trios with Lang Lang, Vadim Repin, and Mischa Maisky Song recitals by tenors Ian Bostridge and John Mark Ainsley A theatre program at the National Theatre to be announced.

All performances are optional.

Tanglewood and Glimmerglass Festivals July 27 – August 2, 2011 Attend three concerts at Tanglewood, the summer home of the Boston Symphony Orchestra and a new production of Cherubini’s Medea at the Glimmerglass Festival.

Excursion by private coach.

STRAUSS Ariadne auf Naxos c. Jacques Lacombe d. Robert Carsen with Michaela Kaune, Roberto Saccà, Ruxandra Donose, Jane Archibald

The Schubertiade Vorarlberg, Austria August 25 – September 1, 2011

STRAUSS Die Liebe der Danae n.p. c. Andrew Litton d. Kirsten Harms with Mark Delavan, Manuel Uhl

Experience Europe’s leading song recital and chamber music festival held in the tiny Alpine village of Schwarzenberg, with its acoustically superb all-wooden, 600-seat concert hall.

BERLIOZ Les Troyens n.p. c. Donald Runnicles d. David Pountney with Ian Storey, Kate Aldrich, Anna Caterina Antonacci London and Glyndebourne May 15 – 29, 2011 An unbelievable exposure to the finest performances of opera, ballet, concerts, recitals and theatre that London has to offer!

An excursion to Sussex for the Glyndebourne Festival is also planned for this tour.

Royal Opera House:

MASSENET Werther with Rolando Villazón, Sophie Koch

VERDI Macbeth with Simon Keenlyside, Martina Serafin

16 PRELUDE MAGAZINE

Singers: Ian Bostridge, Angelika Kirchschlager, Bernarda Fink, Ana Prohaska, Werner Güra, Gerald Finley

Pianists: Till Fellner, Paul Lewis. Angela Hewitt

Quartets: Hagen, Minetti and more!

To receive complete booking information, please apply by e-mail to operatours@golden.net or send a separate, self-addressed and stamped envelope (business-size): COC Operatours c/o Merit Travel 101 Cherryhill Blvd.

London, ON N6H 4S4

Parlando A new blog for the COC

We’re delighted to be adding a brand new voice to our website:

of Aida, and video

Parlando, a new blog for the COC that launched on August 16.

interviews from

Parlando, written by our new social and interactive media

behind-the-scenes.

co-ordinator Cecily Carver, serves as a hub of up-to-the-minute

Cecily is no

information and interesting tidbits on all our upcoming

stranger to opera

productions and events, from Aida to Opera Exchange to the

blogging and we

Free Concert Series. As a reader of Parlando, you can expect

hope you enjoy

to see interviews with our creative team, get early glimpses of

her passionate

production visuals, stay informed on upcoming events, and

perspective. Questions, comments and ideas from readers are

have a forum to ask us questions and engage with your fellow

also very welcome, so if you have your own insights to offer,

opera-lovers.

please write to us and share them!

“Parlando,” when used in opera, means to sing in a style that

The blog is updated with new content several times a week, and

is reminiscent of speech (as in recitative, for example), and

as the fall run draws closer, there are lots of exciting things

we hope that the blog – conversational but devoted to the

to share with you. To make sure you never miss a post, visit

art of opera – will embody the spirit of its title. Some of the

the blog now (www.coc.ca/Parlando) and add a bookmark or

items include a photo narrative of a Death in Venice costume

subscribe in an RSS reader to have the posts delivered to you.

fitting, discussion of the most interesting questions from our

We’re very excited to see Parlando take shape, and we hope

Opera 101 events, intriguing tidbits about our new production

you’ll enjoy being a part of it.

Bite Series:

Verdi’s Aida Sunday, October 24, 2010 Under 30? Explore the passion and tragedy of Verdi’s Aida at the Gladstone Hotel for a brunch inspired by the themes in the opera and then attend a performance, all for only $42!

Join us for a delicious brunch, learn about Verdi’s famous opera and Tim Albery’s interpretation of the intimate love story, and participate in a Q&A with a member of the COC’s creative team. Then head over to the Four Seasons Centre to experience a matinee performance of Aida on the mainstage.

Tickets are $42 per person and include a prix-fixe brunch and an Opera for a New Age ticket for the performance. There is a limit of two tickets per person per opera. Both tickets must be used by patrons under 30 years of age with valid photo ID.

Purchase tickets at 416-363-8231 or at coc.ca

PRELUDE MAGAZINE 17

Photo: Canadian Press

Maureen Forrester

Maureen Forrester, Irena Welhasch and Janet Stubbs in the COC’s 1986 production of Dialogues des Carmélites. Photo: Robert C. Ragsdale, F.R.P.S.

18 PRELUDE MAGAZINE

Maureen Forrester, extraordinary artist and champion of the arts, passed away on June 16, 2010, at the age of 79 after a battle with Alzheimer’s. A native of Montreal, Ms Forrester trained almost exclusively in her hometown under Sally Martin, English tenor Frank Rowe and Dutch baritone Bernard Diamant.

She first sang with the Montreal Symphony in 1953, had her Toronto Symphony debut in 1954, and first appeared on European stages in 1955 with her debut in Paris. Though she experienced international success, she continued to tour extensively at home in both small towns and large cities while championing the work of Canadian musicians and composers such as Harry Somers, R. Murray Schafer and Alexander Brott, featuring and premiering their works in her concerts.

No stranger to the COC stage, her memorable roles included Fricka in Die Walküre (1971), Marquise de Berkenfeld in La fille du Régiment (1977), Bragäne in Tristan und Isolde (1979), Klytämnestra in Elektra (1983), Herodias in Salome (1986), the Old Prioress in Dialogues des Carmélites (1986), Katisha in The Mikado (1986) and the Countess in The Queen of Spades (1988). A true icon of Canadian opera, Ms Forrester will be greatly missed by all those who knew her and those who were fortunate enough to be blessed by her rich voice.

Maureen Forrester in the COC production of La fille du Régiment, 1977.

Photo: Robert C. Ragsdale, F.R.P.S.

Mansouri’s Memoirs Lotfi Mansouri, former General Director of the Canadian Opera Company (1976 – 1988), has recently published his memoirs and a public book signing was held in the Richard Bradshaw Amphitheatre at the Four Seasons Centre for the Performing Arts on September 21. The book is available for purchase at the COC Opera Shop and photos of the event may be seen at coc.ca. The following is the release from Northeastern University Press: Former Canadian Opera Company head Lotfi Mansouri publishes book of memoirs A lively and engaging memoir of one of opera’s driving forces Lotfi Mansouri has lived a full life in opera: triumphs and near disasters, divas and divos, moneymen and true artists, he has known them all. In this entertaining and engaging memoir, Mansouri lifts the curtain and invites the reader to see how magic is created on stage. He has lived a storied life: early years in Iran, move to America, long stays in Europe and Canada, directing tasks on several continents, and a brilliant final act as the general director of the San Francisco Opera, all the while continuing to mount productions worldwide. He has known virtually everybody in the opera world over the past fifty years, and has collaborated with some of the greatest. Mansouri was also a central figure in the recent rejuvenation of opera through innovations such as supertitles [SURTITLES™], and, perhaps more important, the staging and commissioning of new works that would appeal to a contemporary audience, such as SFO’s production of The Death of Klinghoffer, A Streetcar Named Desire, and Dead Man Walking.

Mansouri isn’t shy about dropping names and bruising some egos (even his own). Anyone who wants to know what the opera world is really like can now find out in the company of a charming and expert guide.

COC Book Club Explores Last spring eOpera readers were invited to take part in the COC’s first online book club. The idea was to combine two passions – opera and reading – with the idea that each might enhance the experience of the other.

This spring, in preparation for Donizetti’s Maria Stuarda, we read Philippa Gregory’s novel The Other Queen, which told the story of Mary, Queen of Scots’ imprisonment. Readers followed along with an online blog, and met on opening night to discuss the book in person.

Patrick Carfizzi, who played Giorgio Talbot in our

Lotfollah “Lotfi” Mansouri is an Iranian-born opera director and manager. He was the general director of the Canadian Opera Company in Toronto from 1976 to 1988 and of the San Francisco Opera from 1988 through 2001.

In addition, he is credited with the revolutionary introduction of the running translation strip or “supertitles” Lotfi Mansouri. Photo: Courtesy of San Francisco Opera [SURTITLES™] to the world of opera in 1983 [with the COC’s performance of Elektra.]

In 2009 he received the Opera Honours award of the National Endowment for the Arts.

Lotfi Mansouri: An Operatic Journey

By Lotfi Mansouri; Donald Arthur, contrib.

Northeastern University Press, 2010. 348 pp. 40 illus. 6 x 9".

ISBN: 978-1-55553-706-7 $44.95 Available at the Opera Shop this fall!

“Lotfi is a wonderful reminder of the impresarios of the past, but with the capacity to look forward to the future and all the new possibilities for our art form.”

– Plácido Domingo “We both counted ourselves the luckiest of people when we first met Lotfi Mansouri in San Francisco back in 1963 for La Sonnambula. He has since been a major influence on our lives. Not only is he a supremely gifted opera director but also a great human being. We are proud to have this lovely man as our friend and mentor.”

– Richard Bonynge and Joan Sutherland

Death in Venice production and read the book with us, participated in a podcast after the book club ended.

This fall, the COC book club is reading Thomas Mann’s Death in Venice, the source material for Benjamin Britten’s opera of the same name. Tenor Alan Oke (Gustav von Aschenbach in our production) will be joining us as we compare the novella to the opera, on stage at the Four Seasons Centre next month.

Please join us and read along!

Visit coc.ca/BookClub to join the club!

PRELUDE MAGAZINE 19

The COC Introduces New Standing Room Spaces The Canadian Opera Company is pleased to introduce 60 standing room spaces, our newest initiative to make opera more accessible to the public. With this addition, the COC joins some of the world’s most venerated opera houses with long-standing traditions of offering affordable standing room spaces.

Located on Ring 3 and Ring 4 of the Four Seasons Centre for the Performing Arts, these spaces will now be offered for all COC performances. The $12 tickets will go on sale at 11 a.m. on the day of the performance and must be purchased in person at the Four Seasons Centre Box Office. Tickets are limited to two per person, and will be allocated on a first-come, first-served basis.

Photo: COC

This initiative is one of many the COC has in place to make opera more accessible including $22 Opera for a New Age tickets for patrons between the ages of 16 and 29 and rush seats starting at $22 for performances at the Four Seasons Centre. It’s never been easier to join us for an exciting season of opera!

Take Home a Souvenir of Your Night at the Opera Before, during and (sometimes) after performances, visit the Opera Shop on the main floor of the Isadore and Rosalie Sharp City Room for a fine selection of opera recordings on CD and DVD. We also offer opera-related books and giftware, COC souvenirs, one-of-a-kind jewellery, and – perfect for Hallowe’en – playful masks.

This fall we recommend the following recordings of Aida and Death in Venice, both from Universal Music: With Aprile Millo, Plácido Domingo, Dolora Zajick, Sherrill Milnes, Metropolitan Opera Orchestra and Chorus, James Levine, conductor. Deutsche Grammophon, 1 DVD. $25.75 including taxes

This world premiere recording features the conducting of Steuart Bedford who leads this run of COC performances. With Peter Pears, John Shirley-Quirk, James Bowman, English Chamber Orchestra and English Opera Group Chorus, Steuart Bedford, conductor. Decca, two CDs. $55 including taxes

Shop for much more at the Opera Shop or online 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.

20 PRELUDE MAGAZINE

Calendar of Events Fall & Winter 2010/2011 September 2010

Sat

Fri

Thu 16 7 p.m.

11 4:30 p.m. Ben Heppner in Recital Opera Talk: What is Opera?

North York Central Public Library

24 5:30 p.m. Culture Days – Free concert of operatic arias and ensembles, Richard Bradshaw Amphitheatre

Sat

25 7:30 p.m. Culture Days – Free open rehearsal of Aida, R. Fraser Elliott Hall

Tue

21 12 p.m.

Artists of the COC Ensemble Studio*

Tue

28 12 p.m.

Tue

21 5:30 p.m. Lotfi Mansouri Book Launch, FSCPA

Thu 23 12 p.m.

Hilario Durán, piano*

Darrett Zusko, piano*

Wed 29 7:30 p.m. Aida Dress Rehearsal Thu 30 12 p.m.

Arabesque Dance Company and Orchestra*

October 2010

Sat

2

4:30 p.m. Aida Opening Performance

Tue

Tue

5

12 p.m.

Wed 20 7:30 p.m. Opera 101. Location TBD

Artists of the UofT Opera Division*

19 7:30 p.m. Death in Venice

Wed 6

7:30 p.m. Aida

Thu

21 12 p.m.

Thu

7

12 p.m.

Thu

21 7:30 p.m. Aida

Sat

9

7:30 p.m. Aida

Sat

22 7:30 p.m. Death in Venice

Cecilia String Quartet*

Tue

12 12 p.m.

Tue

12 7:30 p.m. Aida

Wed 13 12 p.m.

Artists of the COC Ensemble Studio* blackandblue dance projects*

Ádám Banda, violin; and Gergely Szokolay, piano*

Sun 24 11 a.m.

Bite Series: Aida Gladstone Hotel

Sun 24 2 p.m.

Aida

Mon 25 7:30 p.m. Death in Venice

Wed 13 7:30 p.m. Death in Venice Dress Rehearsal

Tue

Thu

14 12 p.m.

Wed 27 7:30 p.m. Aida

Fri

15 7:30 p.m. Aida

Thu

28 12 p.m.

Sat

16 9:30 a.m. Opera Exchange: Death in Venice Walter Hall, Edward Johnson Bldg. 80 Queen’s Park

Thu

28 7:30 p.m. Death in Venice

Fri

29 9 p.m.

Operanation VII – Cinderella: Rock the Ball, FSCPA

16 7:30 p.m. Death in Venice Opening Performance

Sat

30 1 p.m.

Idomeneo on CBC’s Saturday Afternoon at the Opera

Mon 18 7:30 p.m. Aida

Sat

30 7:30 p.m. Aida

Tue

19 12 p.m.

Pappas & Young Duo*

Sat

31 2 p.m.

Death in Venice

Tue

2

12 p.m.

Todd Yaniw, piano*

Sat

13 1 p.m.

Tue

2

7:30 p.m. Aida

The Flying Dutchman on CBC's Saturday Afternoon at the Opera

Sat

13 1 p.m.

Special Public Performance for Families: Cinderella 227 Front St. E.

Tue

16 12 p.m.

Mark Mosca, steel pan*

Sat

Afiara String Quartet*

November 2010

Wed 3

12 p.m.

Wed 3

7:30 p.m. Death in Venice

Artists of the UofT Drama and Music Departments*

Thu 4

12 p.m.

Adi Braun, vocals; Kevin Barrett, guitar; and George Koller, bass*

Fri

5

7:30 p.m. Aida

Sat

6

1 p.m.

Sat

6

4:30 p.m. Death in Venice

Tue

9

5:30 p.m. Canadian Children’s Opera Company*

Maria Stuarda on CBC's Saturday Afternoon at the Opera

Thu 11 12 p.m.

The Annex Quartet*

Sat

Special Public Performance for Families: Isis and the Seven Scorpions, 227 Front St. E.

13 1 p.m.

26 12 p.m.

Zodiac Trio* Lawrence Wiliford, tenor; and Jennifer Swartz, harp*

Wed 17 12 p.m.

Artists of the Young Artists Performance Academy of The Royal Conservatory*

Sat

20 1 p.m.

Carmen on CBC's Saturday Afternoon at the Opera

Tue

23 12 p.m.

Janelle Fung and Philip Chiu, piano duo*

Thu 25 12 p.m.

Jane Bunnett, flute/soprano sax; and Hilario Durán, piano*

Sat

27 1 p.m.

Otello on CBC's Saturday Afternoon at the Opera

Tue

30 12 p.m.

Café Méditerranée*

December 2010 January 2011

Wed 1

5:30 p.m. Julie Michels, vocals; and George Koller, bass*

Thu 2

12 p.m.

Glenn Gould School Opera*

Sat

1 p.m.

Aida on CBC's Saturday Afternoon at the Opera

Sat

11 1 p.m.

Death in Venice on CBC's Saturday Afternoon at the Opera

Classical Music Consort*

Tue

14 12 p.m.

Sondra Radvanovsky, soprano; and Liz Upchurch, piano*

Alejandro Vela, piano*

Thu 16 12 p.m.

Queen of Puddings Music Theatre*

Humber Contemporary Jazz Ensemble*

Thu 20 12 p.m.

Pam Hinman, violin; Garrett Knecht, cello; and Jean Desmarais, piano*

Tue

Ensembles of the Glenn Gould School*

Tue

4 7

Thu 9 Tue

12 p.m.

12 p.m.

11 12 p.m.

Thu 9

7 p.m.

Wed 12 5:30 p.m. David Occhipinti, guitar; and Mike Murley, saxophone* Thu 13 12 p.m.

Jacques Israelievitch, violin; Shauna Rolston, cello; and Michael Israelievitch, percussion*

Tue

Artists of the COC Ensemble Studio*

18 12 p.m.

25 12 p.m.

Thu 27 12 p.m.

Opera Talks: Standard Repertoire vs. Contemporary Opera North York Central Public Library

Peggy Baker, dancer/choreographer*

*These performances at the Four Seasons Centre for the Performing Arts are part of the Free Concert Series in the Richard Bradshaw Amphitheatre, presented by National Bank.

For further insights into the series, please read the interview with program director Nina Draganic´ in the COC fall house program and view further descriptions of each concert and performer online at coc.ca.

Sign up for eOpera to receive weekly listings and updates.

PRELUDE MAGAZINE 21

Government Support The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments:

Operating Grants

major corporate sponsors 2010/2011 season Sun Life Financial Accessibility Program Encompassing SURTITLES™, Wheelchair Seating, Hearing-Assistive and Vision-Impaired Devices

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

Presenting Sponsor Opera for a New Age and Operanation VII

Xstrata Ensemble Studio School Tour

Production Co-sponsors Adam’s Nixon in China

Preferred Hospitality Sponsor

22 PRELUDE MAGAZINE

Official Automotive Sponsor of the COC at the FSCPA

Presenting Sponsor, Free Concert Series in the Richard Bradshaw Amphitheatre

Official Media Sponsors

BMO Financial Group Pre-Performance Opera Chats and BMO Financial Group Student Dress Rehearsals BMO Capital Markets & BMO Nesbitt Burns: Presenting Sponsor of the 2010 Opera Golf Classic Aida Opening Night Sponsor

Official Canadian Wine of the COC at the FSCPA

Digital Marketing Sponsor

Preferred Fragrance Sponsor

The COC presents Death in Venice (co-production between Aldeburgh Festival, Bregenz Festival, Státní opera Praha and Opéra national de Lyon). Alan Oke (seated) as Gustav von Aschenbach in the Lyon production, 2009. Photo: Bertrand Stofleth

Prelude TH E

VOICE

OF

TH E

CANADIAN

OPE RA

C O M PANY

A gift to our friends Return Undeliverable Canadian Addresses To:

Canadian Opera Company 227 Front St. E., Toronto, ON, Canada m5a 1e8 t 416-363-6671 f 416-363-5584 e info@coc.ca w coc.ca

Editorial Board: Robert Lamb, Managing Director Roberto Mauro, Artistic Administrator Marion York, Chief Development Officer Jeremy Elbourne, Director of Marketing Claudine Domingue, Director of Public Relations Editors: Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative Design: Endeavour