The Tales of Hoffmann 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 2012

The Tales of Hoffmann

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CONTENTS 4

EVIL UNDER THE SUN A FLORENTINE DOUBLE BILL BY GAVIN PLUMLEY

FANTASY AND HUMANITY JOHANNES DEBUS DISCUSSES THE TALES OF HOFFMANN BY SUZANNE VANSTONE

SEMELE TRANSFORMATIONS BY ERIC DOMVILLE

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

Top: The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. A scene from Théâtre Royal de la Monnaie, 2009. Photo: Karl Forster

Spring 2012

Bottom: The COC presents The Tales of Hoffmann. Stephanie Houtzeel as Nicklausse (Vlaamse Opera, 2000). Photo: Kurt Van der Elst

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 Cover images: The Tales of Hoffmann – The COC presents The Tales of Hoffmann. Gerard Powers as Hoffmann (Vlaamse Opera, 2000). Photo: Kurt Van der Elst Semele – The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. A scene from Théâtre Royal de la Monnaie, 2009. Photo: Karl Forster A Florentine Tragedy/Gianni Schicchi – Preliminary sketch of Bianca in A Florentine Tragedy by costume designer, Terese Wadden. 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.

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

EVIL UNDER THE SUN A FLORENTINE DOUBLE BILL BY GAVIN PLUMLEY

he final pages of Puccini’s Gianni Schicchi are like a new dawn. Buoso Donati’s property has been transferred to its “rightful” owners and Lauretta and Rinuccio gaze out over Florence. The city “in the distance seemed to us like paradise!” they sing, as the orchestra celebrates their newfound freedom. They are not the only people to have fallen under Florence’s spell. From the pomp of the grand tour to the masses under the feet of Michelangelo’s David today, Florence has captivated generations. However E. M. Forster, perhaps the most outspoken fan of the Tuscan capital, knew that any city filled with 4

Canadian Opera Company 2011/2012 Season

Preliminary set maquette for A Florentine Tragedy by set designer Wilson Chin.

statues of abduction and beheading was not totally without fault. Florence may be a dream to some, but its violent history proved a nightmare for others. In his Italian novels, Forster invites us to dig beneath that terracotta-clad surface. And it is that sadistic underbelly that runs through Oscar Wilde’s A Florentine Tragedy, which Alexander Zemlinsky set to music in 1917, the same year that Puccini began Gianni Schicchi. Compared with Europe’s cold and emotionally frigid north, the baking Tuscan sun provides a Dionysian break from normality. In his first Italian novel,

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EVIL UNDER THE SUN A Florentine Double Bill

Where Angels Fear to Tread, E. M. Forster celebrates that shift in temperament and temperature. “They travelled for 13 hours downhill, whilst the streams broadened and the mountains shrank, and the vegetation changed, and the people ceased being ugly and drinking beer, and began instead to drink wine and to be beautiful. And the train which had picked them at sunrise out of a waste of glaciers and hotels was waltzing them at sunset round the walls of Verona.” It was an expedition that Forster would repeat in A Room with a View. The culturally curious Lucy Honeychurch spends a day visiting the sites of central Florence – the Duomo, the church of Santa Croce and the vast Piazza della Signoria. But Forster interrupts her reverie with a sudden and brutal murder. Her idyll has been spoiled and the truly violent nature of the Italians exposed. Gazing up at the Palazzo Vecchio’s lofty tower, she feels it has lost “the reflection of the declining day, and joined itself to earth.” Everything beautiful has baser connotations. In writing his novels, Forster tapped into an august heritage of Florence’s splendour and sadism. In 1875, Oscar Wilde visited the city, wowed by the view from the monastery at San Miniato al Monte. But he remained acute to the cloud that lurks beyond such impressive silver linings. Although he never completed A Florentine Tragedy, his play remains a brilliant distillation of that paradise lost. Like the flash of violence that interrupts Lucy Honeychurch’s pilgrimage, Wilde’s fragmentary text provided a snapshot of the dangers of lust and sexual jealousy in otherwise stunning surroundings. Its stock characters – an impulsive wife, a young 6

Canadian Opera Company 2011/2012 Season

Preliminary sketch of Bianca in A Florentine Tragedy by costume designer, Terese Wadden.

aesthete and a thoroughly average merchant – offer straightforward dramatic parameters. But they provide the springboard to great drama and, in the hands of the Viennese composer Alexander Zemlinsky, a virtuosic new opera. Zemlinsky was one of the leading talents within the Central European fin de siècle. He had taught Arnold Schoenberg, who later became his brother-in-law, and had been the lover of Alma Mahler (wife of composer Gustav Mahler). But he was a highly talented conductor and composer in his own right. Born in 1871, he died near New York in 1942. His life bridged a dizzying period in world history. Born into an empire that didn’t exist by the end of his life, Zemlinsky witnessed seismic shifts in politics, society and culture. An early fascination with lieder (German art song), brought him in direct touch with

EVIL UNDER THE SUN A Florentine Double Bill

the brute sexual honesty of literary Vienna. Provoked by Freud’s investigations into the human consciousness, the psychosexual frankness of contemporary poetry and prose provided the creative blueprint for the city’s avant garde. Zemlinsky’s proximity to Schoenberg and Mahler encouraged a complementary and increasingly heady musical vocabulary. His one-act opera A Florentine Tragedy (1917) – written while working in Prague – shows strong affinities with these intellectual and musical flavours, but Zemlinsky’s own experience in matters of the heart gave the work its unprecedented force. For Zemlinsky, Wilde’s story of evil under the sun provided a neat allegory. His sister Mathilde was married to Schoenberg, but she had a disastrous affair with the modernist painter Richard Gerstl. Mathilde eventually returned to Schoenberg and the couple were happily reunited, but Gerstl couldn’t stand the separation and killed himself.

Preliminary sketch of Zita in Gianni Schicchi by costume designer, Terese Wadden.

Canadian Opera Company 2011/2012 Season

Zemlinsky’s confrontation with Alma Mahler, whose rejection of him in favour of Mahler was still raw after a decade – and stoked further by her affair with Walter Gropius shortly before Mahler’s death – provided a further catalyst to Zemlinsky’s fevered new opera. Mixing the violence of Wilde’s Florence with personal experience, Zemlinsky does not relent from the very first bars of the overture to Simone and Bianca’s erotic reconciliation. Taking his lead from Richard Strauss’s own Wildean tragedy Salome, Zemlinsky created a brutal and taut tone poem for the stage. Like Salome, Zemlinsky reveals his characters’ fatal flaw during the very last bars, when the musical meaning of central motifs and themes finally becomes clear. Having killed her lover, Simone asks Bianca, “Why did you not tell me you were so beautiful?” It is that obsession with surface beauty that ignores and then provokes a tragedy of horrendous power. It is only natural that the story unfolds in Florence, where beauty is prized but violence lurks beneath. That dichotomy was highly familiar to the Tuscan-born Puccini. He had shown himself particularly adept at portraying love and loathing side by side in his 1900 masterpiece Tosca. And, having composed Il Tabarro, another violent tragedy, for the opening section of his Il Trittico – a three-part evening premiered at the Metropolitan Opera in 1918 – Puccini chose black humour for the final panel of the triptych. Originally, Puccini had conceived the evening in two parts. He wanted a tragedy and a comedy, leaving out Suor Angelica. But for those who know Puccini’s other operas, comedy isn’t his immediate natural strength. There are certainly jovial passages in La Bohème for certain and the toddling Sacristan in Tosca provides amusement, but nothing really makes us laugh out loud. Nevertheless,

beautiful

Drama

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EVIL UNDER THE SUN A Florentine Double Bill

Puccini wanted to pay homage to the great Italian comedies of the past and so Gianni Schicchi provided the amuse bouche after a particularly pungent entrée. Based on a passage from Dante’s Inferno, Puccini’s Florentine librettist Giovacchino Forzano created a highly amusing farce. Buoso Donati is one of the richest men in Tuscany and his relatives stand around his deathbed ready to pounce on their inheritance. Motivically sparse like Zemlinsky, Puccini moves swiftly from one plot point to the next. It is only very rarely that he pauses to lavish his considerable melodic gift on the characters. One such moment

Preliminary sketch of Rinuccio in Gianni Schicchi by costume designer, Terese Wadden.

is the show stopping “O mio babbino caro.” Although now associated with James Ivory’s 1985 film version of A Room with a View, it is a deeply ironic aria. Lauretta may plead to her wily and witty father in an expressive fashion, but she is using that natural sincerity to win him round. Rinuccio, who wishes to wed Lauretta, is associated with the conspiratorial characters by relation, but his own candour and honesty are underlined in Puccini’s charming music. When he sings “Florence is like a tree in flower,” you cannot help but be won over. Despite the negativity around them, Puccini’s lovers provide a fitting antidote to Zemlinsky’s vicious twosome. Gianni Schicchi sees in Rinuccio a reliable heir and, over the course of the opera, the pithy motifs of embittered false mourners give way to the lovers’ glorious finale. Out of the waste of Zemlinsky’s bitter tragedy and the greed of Buoso Donati’s relatives comes a new happier era. Lauretta and Rinuccio have not been jaded by the passage of time and money. Just as Lucy Honeychurch wanders around the Piazza della Signoria blind to the violence of the Rape of the Sabine Women and Cellini’s Perseus holding Medusa’s severed head – still on view in the neighbouring Loggia dei Lanzi today – Puccini’s happy pair sees only a heavenly apparition. Through the violence of Zemlinsky’s lovers and the caustic humour of Puccini’s opera, we know that there is a darker side to paradise. n Gavin Plumley is a London-based writer, broadcaster and musicologist who specializes in the culture of the 19th and 20th centuries. You can read more of his work on his blog entartetemusik.blogspot.com.

FOR FURTHER INSIGHTS INTO A FLORENTINE TRAGEDY/GIANNI SCHICCHI, PLEASE SEE GIANMARCO SEGATO’S INTERVIEW WITH CATHERINE MALFITANO, “BORN INTO THE RIGHT TRUNK,” AS WELL AS JON KAPLAN’S INTERVIEW WITH ALAN HELD, “A DOUBLE BILL OF SUN AND SHADOW,” IN THE SPRING ISSUE OF PRELUDE AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

Canadian Opera Company 2011/2012 Season

FANTASY AND HUMANITY JOHANNES DEBUS DISCUSSES THE TALES OF HOFFMANN

COC Music Director Johannes Debus. Photo: Rider Dyce

BY SUZANNE VANSTONE

or COC Music Director Johannes Debus, the joys of conducting are two-fold – conducting that which you know and is familiar to you, and conducting that which is new and introduces you to another work. This spring, he takes to the podium with Jacques Offenbach’s fantastical opera, The Tales of Hoffmann. After his recent inaugural experience conducting Saariaho’s acclaimed Love from Afar, he looks forward to adding another new work to his repertoire. “And,” as he says, “that’s always exciting. I’m curious! I want to explore new things. “One of the first challenges to negotiate is that there is no final version 12

Canadian Opera Company 2011/2012 Season

of Hoffmann. Offenbach died before the opera was finished so you deal with many questions and no real answers,” he laughs. “And that makes it difficult for everybody – especially for Wayne [Vogan], our poor librarian! He is invaluable. Wayne joked to me, ‘I tried to retire before we did a Hoffmann!’ In the end we have to find and make our own version which does the piece justice. “Another challenge is to find the right stylistic approach. Initially Offenbach wrote opéra comique which included dialogue – different themes and different ways to conceive a drama. With Hoffmann he wanted to write his grand opéra. But

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FANTASY AND HUMANITY Johannes Debus Discusses The Tales of Hoffmann

Right: The COC presents The Tales of Hoffmann. Stephanie Houtzeel as Nicklausse, Vlaamse Opera, 2000. Photo: Kurt van der Elst

Opposite page: A scene from the Vlaamse Opera production, 2000. Photo: Kurt van der Elst

I’m not a hundred percent sure if that happened. First of all, there are so many elements which I would imagine as being part of opéra comique. Secondly, where are the heroes? Hoffmann is a hero, but maybe more of an anti-hero? It’s a hard opera to categorize and to find the exact way to play. There must be a certain lightness, and in other moments there must be something luxurious in the sound. “The recitative is another big question. There is a version with dialogue, meant for the performance at the Opéra-Comique theatre, but poor Offenbach never had the chance to hear or finish the work, so we don’t know what his final opinion was. 14

Canadian Opera Company 2011/2012 Season

His pupil Guiraud, later made a recitativo version and put in some chords to fill the gaps – which is what we have in our version – and the orchestra accompanies the recitatives giving it a wonderful fullness.” Debus talks about the immediate familiarity of the music, most often exemplified with the frequent use of couplets. “All couplets somehow have the sense of ‘you hear it once, you already know the tune.’ I’m sure during Offenbach’s time people who heard his opera would immediately hum the tunes upon leaving the theatre! The musical structure – the tunes in these couplets – is so well-defined

that it triggers your memory. Nowadays people hear popular music and they know right away if it’s a good song. What happened when the Beatles started to take off? Why did they become so popular? Because everybody could sing their music!” Debus notes that there is a large element of parody and caricature in the piece. It is a work full of double entendres and often pokes fun at some of the composers of the day. “Sometimes it appears he’s making fun of Wagner or Gounod, and at other times he is mocking the evil characters in opera, or the heroic figures. When I saw it for the first time, I remember feeling that it was a clear counter, or anti-concept, to the megalomaniac concept of Richard Wagner and his view on mankind. It couldn’t Catch up with blogs and enjoy COC Radio at coc.ca.

be more opposite. But,” he adds, “I need both Wagner and Offenbach in my life! I’m glad that Offenbach had these extraordinary visions. He was called the Mozart des Champs-Élysées, because he has a Mozart quality that empathizes with the human soul and human being.” Debus knows we have the best performers to sing this wonderful music. “Hoffmann is one of the longest roles in operatic repertoire.” An extremely demanding role, Hoffmann “is a kind of lost soul, yet he is able to fantasize in such a marvellous way. And this is what makes this piece so popular; it’s an element that people can connect with. I know Russell [Thomas], and he’s a great colleague, very fun to work with. David Pomeroy, John Relyea, all the marvellous women – Andriana 15

FANTASY AND HUMANITY Johannes Debus Discusses The Tales of Hoffmann

Chuchman, Erin Wall, Keri Alkema, Lauren Segal – we have a wonderful cast! Every role must be cast with a great voice, and an intelligent singer. “It’s important that as a singer you have the capacity for self-irony. You can’t take yourself too seriously in the role. The French, in general, have this kind of quality. And in terms of Offenbach, he comes from a wonderful mixed background with many influences. He was a German-born French composer and the son of a synagogue cantor. I think there is an element of Jewish humour in this – an element of laughing at yourself. Yet within this humour there is also so much wisdom and dignity – so much love of life. That’s why this piece

speaks to an audience, and why they feel comfortable with it. Even if we are in a fantasy world, it always has a huge human element. “And that’s the great art you have to achieve. You must take it seriously, as the singer, and also as the conductor – but with a dash of clin d’oeil (a wink). You have these witty double entendres yet when you venture behind them, there is a lot to discover. What was it Woody Allen said? ‘Life is full of misery, loneliness, and suffering – and it’s all over much too soon!’” n Suzanne Vanstone is Senior Communications Manager, Editorial at the Canadian Opera Company.

FOR FURTHER INSIGHTS INTO THE TALES OF HOFFMANN, PLEASE SEE SUZANNE VANSTONE’S INTERVIEW WITH JOHN RELYEA, “FOUR VILLAINS, FOUR SIGNATURES,” IN THE SPRING ISSUE OF PRELUDE AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

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THE TALES OF HOFFMANN by Jacques Offenbach Opera in five Acts. libretto by Jules Barbier, adapted from the play by Barbier and Michel Carré, and based on several tales by e. T. A. Hoffmann first performance: Opéra-Comique, Paris, february 10, 1881 Production of Vlaamse Opera last performed at the COC in 1988 April 10, 14, 18, 21, 27, May 3, 6, 8, 14, 2012 Sung in french with english SUrTITleSTM

The CasT (in order of vocal appearance)

The Muse/Nicklausse Lindorf/Coppélius/Dr. Miracle/Dapertutto Andrès/Cochenille/Frantz/Pitichinaccio Luther Nathanaël Hermann Hoffmann Spalanzani Olympia Antonia Crespel/Schlémil The Voice of Antonia’s Mother Giulietta Stella Conductor: Director: Set Designer: Costume Designer: Lighting Designer: Movement Director: Chorus Master: Stage Manager: SURTITLESTM Producer:

Lauren Segal^ John Relyea* Steven Cole Valerian Ruminski Christopher Enns† Philippe Sly †** Russell Thomas (April 10, 14, 18, 21, 27, May 6, 14) David Pomeroy^ (May 3, 8) Michael Barrett^ Andriana Chuchman Erin Wall Gregory Dahl Ileana Montalbetti† Keri Alkema Ambur Braid† Johannes Debus Lee Blakeley Roni Toren Brigitte Reiffenstuel Jenny Cane Tess Gibbs Sandra Horst Stephanie Marrs Gunta Dreifelds

Performance time is approximately three hours, 15 minutes, with two intermissions of 25 minutes.

Johannes Debus is generously sponsored by anne and Tony arrell. *Mr. Relyea’s performance is generously sponsored by Kris Vikmanis. **Mr. sly’s performance is generously sponsored by Peter and hélène hunt. † Current member of the COC ensemble Studio ^Graduate of the COC ensemble Studio

This production of The Tales of Hoffmann 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.

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DIRECTOR’S NOTES The Tales of Hoffmann

Hymn to Intellectual Beauty (1816) by Percy Bysshe Shelley The awful shadow of some unseen Power Floats through unseen among us, – visiting This various world with as inconstant wing As summer winds that creep from flower to flower, – Like moonbeams that behind some piny mountain shower, It visits with inconstant glance Each human heart and countenance;

nspiration from the genius within, original thought, and the pursuit of a life in line with the freedoms of nature, drove many of the early Romantics. This single-minded pursuit of self determined art, inspiration and existence was often at odds with society at large and its ordered world of science and reason. Free from the constraints and judgements of society, the poet was free to give himself fully to his inspiration, intuition and feeling, free to place an emphasis on emotion, imagination and personal experience. This resulted in a figure seeming to tread outside of society and one who drew down criticisms of irrationality and immorality upon himself. This production takes many of these themes of the artist at the centre of his own world and marries it with one of the cornerstones of the Romantic movement – the pursuit and nature of beauty. Whilst the Bohemian life that many of the poets led appeared on the outside to be one of liberty for all concerned, the reality was often different. The role of wife or mistress

Canadian Opera Company 2011/2012 Season

of a Romantic poet was complex and often suffocating. Supporting obsessive artistic labours was often the difficult burden placed upon the poet’s companion, much to the disadvantage of her own artistic ambitions. Relationships faltered when the realities of life such as infant mortality, depression, and poverty were seen to be brought into the marriage by the woman. This tarnished the poet’s idealistic view of her and toppled her position as the perfect Romantic woman. By contrast the writers would often escape into licentious and drunken sprees to obsessively feed their work, an experience free of such judgements. Hoffmann’s look at each of his three loves, through the romantic lens of wild and dark imaginings, draws each of the women into the Romantic ideal and holds them to account for their flaws: Olympia’s beauty is broken; Antonia’s artistic pursuit is thwarted by death; and, Giulietta is damned for her hedonistic pleasures. Hoffmann seeks perfection yet neglects to recognize his own failings, and he pursues a fantasy which could be a reality if he’d only open his eyes. As with the Romantics, his inspirations and his demons come from both his environment and from the spark of genius within. By escaping into a world of drunken fantasy, his obsession for the ideal woman grows – and as it does, he loses his sense of reality. The struggles between his art, his life and his addictions take their toll. Lee Blakeley

SYNOPSIS

PROLOGUE

Nuremberg The poet Hoffmann is in love with Stella. His Muse is jealous of her and calls on the spirits of drink to assist in banishing Stella’s influence. The Muse assumes the guise of Nicklausse – Hoffmann’s most faithful companion. Hoffmann’s rival for Stella’s affection, Lindorf, arrives. He intends to take Stella, now an opera singer, for his own. Giving himself to drink, Hoffmann is persuaded to sing a drinking song about the dwarf Kleinzach. During the song, Hoffmann’s mind wanders back to the beauty of Stella. Hoffmann can’t shake the idea of Stella and begins to tell the story of how she is all the women he has loved in one. He tells the story of the first... ACT I – OLYMPIA

Paris In his salon workshop, the inventor Spalanzani is excited at the wealth he’s to acquire through the sale of his latest invention: the mechanical doll, Olympia. He’s concerned that the maker of the doll’s eyes, Coppélius, may lay claim to a percentage of the profits. Hoffmann becomes a pupil of Spalanzani in order to be nearer to Olympia, whom he takes for the inventor’s own daughter. Coppélius arrives and sells Hoffmann a pair of spectacles which enhance the doll’s beauty. Once the other guests have arrived, Olympia is presented and sings, much to the delight of the crowd. As the guests depart for supper, Hoffmann seizes the opportunity to declare his love. Everything seems fine until Olympia’s mechanism

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malfunctions and she appears to flee from him. The swindled Coppélius, who has been given a worthless cheque, returns to take revenge on Spalanzani. Enraged, he rips the doll apart as Hoffmann, his glasses now broken, realizes the awful truth. INTERMISSION ACT II – ANTONIA

Munich The councillor Crespel has removed his daughter, Antonia, to a secret address in Munich in order to keep her away from her fiancé, Hoffmann. Realizing that Antonia has inherited her mother’s mysterious and fatal condition, which is aggravated by singing, Crespel keeps her hidden, believing Hoffmann’s presence would encourage her to sing. He tells his old, deaf retainer to bar the doors. Hoffmann has tracked Antonia down and the lovers are reunited. Antonia explains she is no longer permitted to sing but doesn’t know why. She leaves in a hurry as Crespel returns. Hoffmann hides, determined to solve the mystery. Dr. Miracle arrives to examine Antonia, much to the dismay of Crespel who firmly believes the doctor’s treatment to be the cause of his wife’s death. Dr. Miracle tempts the young girl with fantasies of the world of song she is about to abandon, and brings life to the portrait of her mother who encourages Antonia to sing. Thrilled at her mother’s voice, Antonia sings higher and higher with increasing excitement until she collapses. Hoffmann returns too late to save his dying second love.

SynOPSIS

MusiC sTaff

INTERMISSION

Rachel Andrist (Head Coach) Esther Gonthier

ACT III – GIULIETTA

Venice Relaxing near a Venetian canal, Nicklausse sings of the beauty of the night and is joined in song by the courtesan Giulietta, arriving on a gondola. Hoffmann declares he is through with love and is now devoting himself to pleasure. Giulietta introduces Hoffmann to her present love, the jealous Schlémil, and invites them all into the gaming room. The sorcerer Dapertutto arrives and encourages Giulietta, with her magical eyes, to steal Hoffmann’s reflection and, with it, his soul. Upon obtaining Hoffmann’s image, Dapertutto taunts him and the poet sinks deeper into despair. As Giulietta boards her gondola, Schlémil and Hoffmann fight over the key to Giulietta’s room. Schlémil is killed and Hoffmann frantically searches for Giulietta until, horrified, he sees her in a gondola drifting away with Pitichinaccio in her arms. EPILOGUE

Nuremberg Drunk, Hoffmann asserts that the three stories are different aspects of one woman, Stella. To Lindorf and Stella, Hoffmann is a drunkard and a poor rival for the singer’s affection. Hoffmann doesn’t recognize Stella in his inebriated state and he collapses to the floor, unconscious. Stella and Lindorf depart leaving only the Muse with Hoffmann. His Muse reassures him: his suffering will lead to true artistic fulfillment.

Canadian Opera Company 2011/2012 Season

fRenCh Language COaChes

Rosemarie Landry Jason Nedecky assisTanT COnDuCTOR

Samuel Tak-Ho Tam assisTanT DiReCTOR

Brent Krysa assisTanT sTage ManageRs

Lesley Abarquez Kristin McCollum assisTanT LighTing DesigneRs

Jason Golinsky Wendy Greenwood Jason Hand fighT DiReCTOR

James Binkley DanCeRs

Shelley Kenney Ethan Lafleur unDeRsTuDies

Lindorf/Coppélius/ Dr. Miracle/ Dapertutto Andrès/Cochenille/ Frantz/Pitichinaccio Luther Nathanaël Hermann Spalanzani Olympia

Gregory Dahl

John Kriter

Craig Irvin Stephen Bell Peter McGillivray Owen McCausland Mireille Asselin Jacqueline Woodley Antonia Ileana Montalbetti Crespel/Schlémil Gene Wu The Voice of Antonia’s Mother Megan Latham Stella Jacqueline Woodley

(l â&#x20AC;&#x201C; r) Adrian Kramer as Papageno, Michael Barrett as Monostatos and Simone Osborne as Pamina in the COC Ensemble Studio performance of The Magic Flute, 2011. Photo: Michael Cooper

Ensemble Studio The Canadian Opera Company Ensemble Studio is the countryâ&#x20AC;&#x2122;s premier opera training program. Since 1980, more than 150 young Canadian singers, stage directors, apprentice opera coaches and conductors have acquired their first professional operatic experience through this program, including such well known singers as Ben Heppner, Joanne Kolomyjec, Wendy Nielsen, Joni Henson, John Fanning, and Isabel Bayrakdarian. For more information about supporting the COC Ensemble Studio, please call 416-847-4949 or visit coc.ca.

ARTISTS’ BIOGRAPHIES KERI ALKEMA giulietta

American soprano Keri Alkema makes her COC debut. Her 2011/2012 season includes debuts with Glyndebourne Festival Opera as Mimì in La Bohème, Opera North as Adalgisa in Christopher Alden’s new production of Norma, and the New York Philharmonic as Donna Elvira in the Act I Finale of Don Giovanni. Recent appearances include Donna Elvira (St. Paul Chamber Orchestra and New York City Opera); Fiordiligi in Così fan tutte (Atlanta Opera); Amelia in Simon Boccanegra (Teatro Municipal de Santiago); Adalgisa (Caramoor Festival); and, Mahler’s Das klagende Lied (Cincinnati May and Ravinia Festivals under James Conlon). Future engagements include Théâtre du Capitole in Toulouse, Opéra national de Bordeaux, Minnesota Opera and Washington National Opera. AMBUR BRAID stella

COC Ensemble Studio soprano Ambur Braid recently appeared with the company as a Greek Woman in Iphigenia in Tauris, Amore in Orfeo ed Euridice and the Queen of the Night in the Ensemble Studio performance of The Magic Flute. Other roles include Diana in Iphigénie en Tauride (Opera Atelier); and, Konstanze in Die Entführung aus dem Serail and the Queen of the Night (San Francisco Conservatory). She will appear with the COC this season sharing the title role in the Ensemble performance of Semele. Next season Ms Braid will sing the role of Adele in the COC’s Die Fledermaus and the Queen of the Night with Opera Atelier.

Canadian Opera Company 2011/2012 Season

MICHAEL BARRETT spalanzani

Canadian tenor Michael Barrett, a former member of the COC Ensemble Studio, most recently appeared with the COC as the Witch in the Xstrata Ensemble Studio School Tour’s Hansel and Gretel. Other COC credits include the American/ Gondolier (Death in Venice), High Priest of Neptune (Ensemble Studio performance of Idomeneo), Trojan Man 1 (mainstage and Ensemble performances of Idomeneo), Lieutenant Bonnet and Aide de Camp to General Compans (War and Peace), First Prisoner (Fidelio), Gamekeeper (Rusalka), Captain of Archers (Simon Boccanegra), Parpignol (La Bohème), Snout (A Midsummer Night’s Dream), and Ferrando (Ensemble Studio’s Così fan tutte). Mr. Barrett recently appeared as Seth in John Beckwith’s Taptoo with Toronto Operetta Theatre. ANDRIANA CHUCHMAN Olympia

Born in Winnipeg, soprano Andriana Chuchman is making her COC debut. This season she appeared with Michigan Opera Theater as Monica (The Medium), the soprano soloist (Carmina Burana) and Susanna (Le nozze di Figaro); with Edmonton Opera as Yum-Yum (The Mikado); and, in Brahms’ Requiem with the Detroit Symphony Orchestra. Other roles include Pamina (Die Zauberflöte), Marie (La fille du régiment), Adina (L’elisir d’amore), and Dorinda in Handel’s Orlando. Upcoming engagements include Mahler’s Symphony No. 8 with the Toronto Symphony Orchestra, Cleopatra (Giulio Cesare) with Michigan Opera Theater, debuts with the Bard SummerScape Festival as Minka in Le roi malgré lui, and with Washington National Opera as Magnolia in Show Boat.

ArTISTS’ BIOGrAPHIeS

STEVEN COLE andrès/Cochenille/ frantz/Pitichinaccio

American tenor Steven Cole last appeared with the COC as Goro in Madama Butterfly, and previously as the Witch in Hänsel und Gretel. He made his operatic debut as Monsieur Triquet (Eugene Onegin) with the Boston Symphony under Seiji Ozawa, and his Metropolitan Opera debut under James Levine as the Tanzmeister (Ariadne auf Naxos). Recent appearances include Die Zauberflöte (Treviso), La belle Hélène (Nantes and Strasbourg), A Midsummer Night’s Dream (Houston), La fanciulla del West (San Francisco), and Die Zauberflöte (Paris). His recordings include Die Zauberflöte (William Christie), The Rake’s Progress (Kent Nagano), Orphée aux enfers (Marc Minkowski), and Le Grand Macabre (Esa-Pekka Salonen). GREGORY DAHL Crespel/schlémil

Canadian baritone Gregory Dahl last appeared with the COC as Balaga/General Yermolov/First German General in War and Peace. COC roles include Sciarrone in Tosca, Ping in Turandot and Antonio in Il viaggio a Reims. Other credits include Golaud in Pelléas et Mélisande (Opera Theatre of St. Louis); Alfio in Cavalleria rusticana and Sharpless in Madama Butterfly (Vancouver Opera); Enrico in Lucia di Lammermoor (Vancouver Opera, Opera Lyra Ottawa); Tonio in Pagliacci and Schicchi in Gianni Schicchi (Opéra de Montréal); Germont in La Traviata (Opera Lyra Ottawa); Iago in Otello (Edmonton Opera); Jochanaan in Salome (OTSL and Manitoba Opera); and, Conte di Luna in Il Trovatore (Opéra de Montréal). Please visit coc.ca for additional information

CHRISTOPHER ENNS nathanaël

Canadian tenor and COC Ensemble Studio member Christopher Enns last appeared with the company as Scaramuccio in Ariadne auf Naxos, as well as an American/ Glass Maker/Strolling Player in Death in Venice, and Tamino in the Ensemble Studio performance of The Magic Flute. He holds a bachelor of vocal performance (University of Manitoba), and a diploma in operatic performance (UofT). Other credits include the title role in Candide, Ecclitico in Il mondo della luna and Gonzalve in L’heure espagnole (UofT’s Opera Division); Alfred in Die Fledermaus (Highlands Opera Studio); and, Gastone in La Traviata (Saskatoon Opera). Next season Mr. Enns will perform the role of Alfred in the COC’s Die Fledermaus. ILEANA MONTALBETTI The Voice of antonia’s Mother

Canadian soprano and Ensemble Studio member Ileana Montalbetti last performed with the COC as Clorinda in La Cenerentola. COC appearances include the Russian Mother/ Newspaper Seller (Death in Venice), Anna Kennedy (Maria Stuarda), Mavra Kuzminichna (War and Peace) and, in COC Ensemble Studio performances, the First Lady (The Magic Flute), Elettra (Idomeneo), and Fiordiligi (Così fan tutte). Other credits include Donna Anna (Don Giovanni) and Countess Almaviva (Le nozze di Figaro) with Saskatoon Opera. Ms Montalbetti recently made her debut at Teatro dell’Opera di Roma in Nikolaus Lehnhoff’s production of Elektra. Previously in Rome, she understudied the role of Anaï (Moïse et Pharaon) with Riccardo Muti. 7

ArTISTS’ BIOGrAPHIeS

DAVID POMEROY hoffmann

Newfoundland tenor David Pomeroy last appeared at the COC as Pinkerton in Madama Butterfly. COC credits include Rodolfo in La Bohème, Skuratov in From the House of the Dead and the title role in Faust. Appearances in the 2011/2012 season include Carmen (Opera Company of Philadelphia), Faust (Metropolitan Opera), and La Traviata (New York City Opera). Other credits include Rigoletto (Montreal, Calgary, Kansas City), Lucia di Lammermoor (Calgary), Hoffmann (Met, Florida Grand Opera), La Traviata (Vancouver), Roméo et Juliette (Met), Two Widows (Scottish Opera, Edinburgh Festival), Carmen (Vancouver, Manitoba, Stuttgart, Kansas City), La Rondine (Michigan Opera Theatre) Tosca (Montreal), and Madama Butterfly (Michigan, Fort Worth, Kansas City, Opéra de Québec). JOHN RELYEA Lindorf/Coppélius/ Dr. Miracle/Dapertutto

Canadian bass-baritone John Relyea makes his COC debut. His 2011/2012 season includes the title role in Attila (Seattle Opera) and the Four Villains in Les contes d’Hoffmann (Bayerische Staatsoper). Upcoming appearances include the Munich and Tanglewood festivals, as well as returns to Royal Opera House Covent Garden for Roberto el diablo and the Metropolitan Opera for Faust. Mr. Relyea has performed in the world’s major opera houses including Lyric Opera of Chicago, San Francisco Opera, Opéra national de Paris, and Wiener Staatsoper. His roles include the title roles in Le nozze di Figaro, Bluebeard’s Castle and Aleko; Méphistophélès in both Faust and La damnation de Faust; Nick Shadow in The Rake’s Progress; King Marke in Tristan und Isolde; Caspar in Der Freischütz; and, Banquo in Macbeth. 8

Canadian Opera Company 2011/2012 Season

VALERIAN RUMINSKI Luther

American bass Valerian Ruminski is making his COC debut. A graduate of the Academy of Vocal Arts in Philadelphia, recent appearances include Don Pasquale (title role) and Bartolo in Le nozze di Figaro (Hawaii Opera Theatre); Sarastro in The Magic Flute (Opera Lyra Ottawa); Il Commendatore in Don Giovanni (Calgary Opera); Banquo in Macbeth (Opera Ireland); Raimondo in Lucia di Lammermoor (Hawaii Opera Theatre); and, Nikitich in Boris Godunov and Lord Walton in I Puritani (Metropolitan Opera). Upcoming engagements include Colline in La Bohème (Nickel City Opera and Opera Lyra Ottawa), and Don Magnifico in La Cenerentola (Seattle Opera). He is also currently appearing as Guccio in the COC’s Gianni Schicchi. LAUREN SEGAL The Muse/nicklausse

Former Ensemble Studio mezzo-soprano Lauren Segal last appeared with the COC as Diana in Iphigenia in Tauris. Other COC credits include Dryad in Ariadne auf Naxos, the Third Lady in The Magic Flute, Nancy T’sang in Nixon in China, Mercédès in Carmen, Sonya in War and Peace, Aljeja in From the House of the Dead and Siebel in Faust. Recent appearances include Dorabella in Così fan tutte with Pacific Opera Victoria, Suzuki in Madama Butterfly with Manitoba Opera, Maddalena in Rigoletto with Opéra de Montréal, Rosina in The Barber of Seville with Opera Hamilton and the title role in Carmen at the Brott Music Festival.

ArTISTS’ BIOGrAPHIeS

PHILIPPE SLY hermann

Bass-baritone Philippe Sly, a COC Ensemble Studio member, last appeared with the company as a Scythian Man in Iphigenia in Tauris. A winner in the 2011 Metropolitan Opera’s National Council Auditions Competition, recent performances include Bartolo in Il barbiere di Siviglia (San Francisco Opera’s Merola Opera Program), and Marcello in La Bohème and Nick Shadow in The Rake’s Progress (McGill University). This season’s engagements include St. John Passion (Montreal Symphony Orchestra), a concert with the Kuala Lumpur Philharmonic Orchestra, as well as appearances with the COC in Gianni Schicchi and Semele. Next season Mr. Sly makes his mainstage San Francisco Opera debut as Guglielmo in Così fan tutte. RUSSELL THOMAS hoffmann

American tenor Russell Thomas is making his COC and role debut as Hoffmann. Recently he appeared as Foresto in Attila with Seattle Opera; Tamino in The Magic Flute and Andres in Wozzeck at the Metropolitan Opera; and, the Duke in Rigoletto with the Orlando Philharmonic and Teatro Municipal in Santiago de Chile. Later this spring Mr. Thomas performs in the world premiere of John Adams’ The Gospel According to the Other Mary with the Los Angeles Philharmonic under Gustavo Dudamel, with plans for its American and European tours. Upcoming engagements include debuts with Royal Opera House Covent Garden and Deutsche Oper Berlin, as well as returns to Metropolitan Opera and Seattle Opera.

Please visit coc.ca for additional information

ERIN WALL antonia

Canadian soprano Erin Wall made her COC debut as Clémence in Love from Afar in February. She has previously sung Antonia in The Tales of Hoffmann at Chicago Lyric Opera and Santa Fe Opera. In June she sings concerts with the Vancouver Symphony Orchestra and the Toronto Symphony Orchestra, followed by the title role in Arabella in Santa Fe. Recent seasons include debuts at the Metropolitan Opera, Teatro alla Scala, Wiener Staatsoper, Munich Staatsoper, and the Grammy-winning recording of Mahler’s Symphony No. 8 with the San Francisco Symphony. A new recording of Beethoven’s Ninth Symphony with Kent Nagano and Orchestre symphonique de Montréal has recently been released. JOHANNES DEBUS Conductor

Earlier this season COC Music Director Johannes Debus conducted the company’s Love from Afar and Rigoletto, following last season’s Aida, The Magic Flute and, at the Brooklyn Academy of Music, The Nightingale and Other Short Fables. In 2010 he made his Tanglewood Festival debut, replacing James Levine, conducting The Abduction from the Seraglio with the Boston Symphony Orchestra. Following his huge success, he was invited back to make his Boston Symphony Hall debut. Mr. Debus recently conducted Elektra at the Staatsoper unter den Linden in Berlin and will return for The Rake’s Progress next year. This past summer he appeared at the Spoleto Festival, Bayerische Staatsoper, Opéra Festival de Québec and the Merola Opera Program at San Francisco Opera. Next season Mr. Debus returns to the COC podium for Die Fledermaus, La clemenza di Tito, Salome, and Dialogues des Carmélites. 9

ArTISTS’ BIOGrAPHIeS

LEE BLAKELEY Director

Lee Blakeley makes his COC directorial debut with this production. He was born in Yorkshire, England and studied in Glasgow. His recent productions include Sondheim’s Sweeney Todd and A Little Night Music (with Leslie Caron) at the Châtelet Paris; Into the Woods in Glasgow; Così fan tutte in London; Madama Butterfly for Santa Fe Opera; and, Orfeo ed Euridice for Minnesota Opera. Previous productions include A Night at the Chinese Opera and Die Fledermaus for Scottish Opera, as well as operas in Wexford (Rusalka), Philadelphia (Don Giovanni), Antwerp (The Merry Widow) and London. Mr. Blakeley returns to Santa Fe for The Pearl Fishers this summer, later directing in London’s West End with further productions in the U.S. and France to follow. RONI TOREN set Designer

Israeli Roni Toren makes his COC debut. He studied art and theatre in Paris, France and graduated from Tel-Aviv University where he is adjunct associate professor, scenic design. He has designed sets and costumes for theatre and opera internationally, collaborating with directors such as Sir Jonathan Miller, David Alden, Johannes Schaaf, Guy Joosten, Inga Levant, and David McVicar. His designs have appeared in Israel, Germany, the U.K., Italy, Monaco, the U.S., Belgium and Spain, in such productions as La Bohème, The Magic Flute, Anna Bolena, Maria Stuarda, Roberto Devereux, Boris Godunov, Tannhäuser, Salome, The Damnation of Faust, Otello, Don Giovanni, Kullervo and Le nozze di Figaro. Mr. Toren won the silver medal at 2005 WSD-World Stage Design, Toronto.

Canadian Opera Company 2011/2012 Season

BRIGITTE REIFFENSTUEL Costume Designer

Brigitte Reiffenstuel makes her COC debut. She was born in Munich and studied at the London College of Fashion and St. Martin’s School of Art. Recent designs include Don Giovanni (Teatro alla Scala); Madama Butterfly (Santa Fe Opera); Il Trovatore (Metropolitan Opera, San Francisco Opera, Chicago Lyric Opera); Giulio Cesare (Glyndebourne Festival Opera); Billy Budd, The Makropulos Affair (Chicago Lyric Opera); Adriana Lecouvreur, Faust, Elektra (Royal Opera House Covent Garden, ROH); and, Lucrezia Borgia, Peter Grimes, Tosca, The Damnation of Faust, Lucia di Lammermoor, Boris Godunov (English National Opera). Upcoming productions include Falstaff (ROH), The Pearl Fishers (Santa Fe Opera), and Un ballo in maschera and Giulio Cesare (Met). JENNY CANE Lighting Designer

Jenny Cane makes her COC debut. She was born in Sri Lanka and now lives in France, having designed for theatre, opera, musicals and dance productions throughout Europe, North America and Australia. She has worked for many major producers including Andrew Lloyd-Webber and Cameron Mackintosh on musicals that have consequently toured in Britain and abroad. In 2010 she lit A Little Night Music in Paris. Ms Cane has been lighting designer on many English National Opera productions, as well as Die Zauberflöte in Antwerp; A Night at the Chinese Opera and Die Fledermaus for Scottish Opera; The Turn of the Screw in Macedonia; and, Orfeo ed Euridice for Minnesota Opera.

ArTISTS’ BIOGrAPHIeS

TESS GIBBS Movement Director

Tess Gibbs makes her COC debut. She was born in London and studied at Manchester Metropolitan University, University of Nottingham and London Contemporary Dance School. Engagements include Rusalka (Wexford Festival Opera); Die lustige Witwe (Vlaamse Opera); The Pearl Fishers (Swansea City Opera); Thérèse Raquin (Opera Theatre Europe); The Knot Garden (Cantiere Internazionale di Montepulciano); La Rondine, Falstaff, La Traviata, Jen˚ufa, Eugene Onegin, L’enfant et les Sortilèges, Petrushka (Opera North); Falstaff (Garsington Opera); The Pirates of Penzance (Centenary Opera); Eugene Onegin (Southgate Opera); Scenes from the Savoy (Opera Brava); Le nozze di Figaro (British Youth Opera); Capriccio (Glyndebourne Festival Opera); Così fan tutte (Royal College of Music); L’Egisto, Albert Herring, The Cunning Little Vixen (Royal Welsh College of Music and Drama); and, Semele (English National Opera). SANDRA HORST Chorus Master

Sandra Horst’s recent COC credits include Tosca, Love from Afar, Rigoletto and Iphigenia in Tauris. She also conducted Rossini’s Il viaggio a Reims for the COC. Director of musical studies for the University of Toronto’s Opera Division, she most recently conducted Poulenc’s La voix humaine and Les mamelles de Tirésias. Ms Horst has formerly served as chorus master for Opera Theatre of St. Louis and Edmonton Opera; a judge for the Metropolitan Opera National Council auditions; and, music staff of the Juilliard Opera Center, Chautauqua Institution, Boston Lyric Opera, and Banff Centre for the Arts. She was one of the 100 Alumni of Achievement recently honoured by Wilfrid Please visit coc.ca for additional information

Laurier University. This spring she is also chorus master for Semele. STEPHANIE MARRS stage Manager

Stephanie Marrs, with the COC since 1991, recently stage managed Iphigenia in Tauris, Death in Venice, The Magic Flute and Orfeo ed Euridice. Other COC credits include: Idomeneo, 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 and Madama Butterfly. She has stage managed for Nightwood Theatre, Crow’s Theatre, Opera York, Opera Atelier and the Canadian Children’s Opera Company. Ms Marrs has assistant stage managed for the COC on numerous shows and been involved with Opéra national de Lyon, Edmonton Opera, Canadian Stage, Luminato Festival, Just for Laughs Toronto Festival and the C.O.S.I. program in Sulmona, Italy. SAMUEL TAK-HO TAM assistant Conductor

Former COC Ensemble Studio member Samuel Tak-Ho Tam’s COC credits include assistant conductor for Death in Venice and backstage conductor for Idomeneo, as well as apprenticing and assisting on Rusalka, Le nozze di Figaro, Tosca, Eugene Onegin, Il barbiere di Siviglia, Pelléas et Mélisande, Renard, Don Giovanni, Simon Boccanegra, La Bohème, A Midsummer Night’s Dream, Così fan tutte and Trouble in Tahiti. He conducted the National Arts Centre Orchestra and Windsor Symphony in workshop; a performance of Haydn’s Il mondo della luna (UofT Opera Division); National Academy Orchestra; and, participated in OSESP’s production of Der Rosenkavalier (Sao Paulo). A graduate 11

of McGill University, he studied organ performance with John Grew. BRENT KRYSA assistant Director

Assistant director Brent Krysa has served with the COC as assistant director of Otello, Simon Boccanegra, Luisa Miller, Rigoletto, Il Trovatore, Lady Macbeth of Mtsensk and Götterdämmerung as part of the COC’s complete Ring Cycle, among other productions. As an assistant director, he has also worked for Wexford Festival Opera, Lugo Opera Festival, Vancouver Opera, Calgary Opera, and the Banff Centre. Recent directing credits include La Calisto for the Royal Conservatory of Music, Il barbiere di Siviglia for Opera Hamilton and Sweeney Todd for Dalhousie Opera. Upcoming engagements include Don Pasquale for Saskatoon Opera and Carmen on Tap with CBC radio host Julie Nesrallah this summer in Ottawa.

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.

Sign up for eOpera and stay informed on the latest news. You’ll receive the COC’s e-newsletter that features news and anecdotes on current and upcoming productions and the following extras: Advance Subscription and single-ticket purchasing Special ticket offers Notice of free concerts series in the Richard Bradshaw Amphitheatre Information on special events and educational and outreach programming And much more!

At the Opera Shop this Spring... Tote this! This season we introduced the COC carry-all tote bag. Featuring a full COC-branded lining, two big pockets and leather handles, it’s big enough for shopping, picnics, overnight-ing and sturdy enough to carry several vocal scores. Featuring the exclusive “I HEART COC” keychain! $85 inc. tax.

Trunk shows Heather Campbell (silk scarves): Saturday, April 14 P. J. Bundy (jewellery): Saturday, April 21 Two A (jewellery): Sunday, May 6 and Saturday, May 12

This spring we recommend the following recordings from Universal Classics: The Tales of Hoffmann, Decca. L’Orchestre de la Suisse Romande, Richard Bonynge, conductor. Plácido Domingo, Joan Sutherland, Gabriel Bacquier. In the title role, the young Domingo leaves nothing to be desired, singing with such careful attention to detail that he makes Hoffmann come alive. The great loves of his life find a supreme interpreter in Joan Sutherland. $52.75 inc. tax. Il Trittico, Decca. Orchestra and Chorus of the Maggio Musicale Fiorentino, Bruno Bartoletti, conductor. Mirella Freni, Leo Nucci, Roberto Alagna. This sparkling version of Puccini’s comic Gianni Schicchi features Mirella Freni’s exquisite rendition of “O mio babbino caro.” Included are the other two operas which make up Il Trittico: Il Tabarro and Suor Angelica. $55 inc. tax. Semele, Decca. Orchestra la Scintilla, Ambrosian Opera Chorus, William Christie, conductor. Cecilia Bartoli, Charles Workman. Celebrated Canadian director Robert Carsen’s production from Zurich stars Cecilia Bartoli in the title role which suits her lithe, flexible voice like a glove. An irreverent take on Handel’s creation, famously labelled at its premiere as “no oratorio, but a bawdy opera!” $25.75 (DVD), $32.25 (Blu-ray) inc. 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 ORCHESTRA VIOLIN I Marie Bérard, Concertmaster The Concertmaster’s chair has been endowed in perpetuity by Joey and Toby Tanenbaum Benjamin Bowman, Associate Concertmaster, on leave of absence elissa lee, Acting Associate Concertmaster* diane Tait, Assistant Concertmaster Anne Armstrong James Aylesworth Sandra Baron Bethany Bergman nancy Kershaw, on leave of absence dominique laplante yakov lerner Jayne Maddison neria Mayer Aya Miyagawa VIOLIN II Paul Zevenhuizen, Principal Csaba Koczó, Assistant Principal Andrew Chung* elizabeth Johnston Hiroko Kagawa* renée london* louise Tardif Marianne Urke Ashley Vandiver Joanna Zabrowarna

VIOLA Keith Hamm, Principal Joshua Greenlaw, Assistant Principal, on leave of absence yosef Tamir, Acting Assistant Principal Carolyn Blackwell* Ivan Ivanovich* nicholaos Papadakis* rhyll Peel Angela rudden* Theresa rudolph Koczó, on leave of absence Beverley Spotton CELLO Bryan epperson, Principal Alastair eng, Associate Principal Paul Widner, Assistant Principal Maurizio Baccante, on leave of absence Peter Cosbey* Olga laktionova elaine Thompson BASS Alan Molitz, Principal robert Speer, Assistant Principal Tom Hazlitt Paul langley robert Wolanski*

FLUTE douglas Stewart, Principal Shelley Brown

TIMPANI Michael Perry, Principal PERCUSSION Trevor Tureski, Principal ryan Scott* John Thompson*

PICCOLO Shelley Brown OBOE Mark rogers, Principal lesley young

HARP Sarah davidson, Principal

ENGLISH HORN lesley young CLARINET James T. Shields, Principal Colleen Cook BASSOON eric Hall, Principal elizabeth Gowen HORN Joan Watson, Principal Janet Anderson Bardhyl Gjevori Gary Pattison

LIBRARIAN Wayne Vogan ASSISTANT MUSIC LIBRARIANS Capella Sherwood, on leave of absence Susan Ball (interim) STAGE LIBRARIAN Paul langley PERSONNEL MANAGER Ian Cowie

TRUMPET robert Grim, Principal Brendan Cassin

* extra musician

TROMBONE rachel Thomas, Acting Principal* Ian Cowie BASS TROMBONE Herbert Poole

CANADIAN OPERA COMPANY CHORUS SOPRANOS lindsay Barrett Mary Bella Margaret evans laura Klassen Alexandra lennox-Pomeroy Ingrid Martin eve rachel Mcleod Victoria Pinnington Jennifer robinson Catherine Tait Teresa van der Hoeven MEZZO-SOPRANOS Marianne Bindig Sandra Boyes Wendy Hatala foley 14

Sonya Gosse erica Iris Huang lilian Kilianski Kathryn Knapp Jessica lloyd Karen Olinyk Vilma Indra Vitols Cindy Won TENORS Vanya Abrahams Craig Ashton Stephen Bell Taras Chmil Sam Chung Stephen erickson nicolas Groenewegen

Canadian Opera Company 2011/2012 Season

John Kriter James leatch Stephen McClare eric Olsen BARITONES & BASSES Grant Allert Kenneth Baker Peter Barnes Sung Chung Michael downie Jason nedecky niculae raiciu Bruce Schaef Michael Sproule Jan Vaculik 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. Mark Appel Mr. H. Anthony (Tony) Arrell Ms nora Aufreiter Mr. Barry Avrich Mr. robert Brouwer Ms Marcia lewis Brown

Mr. Stewart Burton Mr. George S. dembroski Mr. William fearn (ex officio) Mr. david C. ferguson Mr. Adam froman Mr. Michael Gibbens Ms Merle Gobin (ex officio) dr. linda Hutcheon (ex officio) Ms Trinity Jackman Ms Pamela Jeffery Mr. Jeff lloyd Mr. Stephen O. Marshall Ms Judith Matthews Mr. Geoffrey Matus 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 Michele leighton Symons Ms Sandra Simpson Mr. Philip S. W. 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 Merle Gobin & June Shaw, Co-Presidents Marina Mcdougall, Past President lisa Teskey, Vice President/Treasurer

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

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

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ADMINISTRATION AND STAFF AleXAnder neef, General director Robert Lamb Managing Director Johannes Debus Music Director EXECUTIVE OFFICE Executive Assistant to the General Director Marguerite schabas (on leave) Laura Kelly ARTISTIC ADMINISTRATION Roberto Mauro Artistic Administrator MUSIC sandra gavinchuk Music Administrator

Assistant Librarian Capella sherwood (on leave) susan Ball (interim) COC Ensemble Studio Mireille asselin ambur Braid Rihab Chaieb Timothy Cheung neil Craighead Jenna Douglas Christopher enns adrian Kramer ileana Montalbetti simone Osborne Philippe sly Jacqueline Woodley Production Assistants Morgan-Leigh hearty ariel Martin-smith gloria Tran PROGRAMMING

sandra horst Chorus Master Wayne Vogan Music Librarian, Coach

nina Draganić Director of Programming – Free Concert Series

Core Crew scott Clarke Terry hurley Paul Otis Chuck Theil

Assisted By adrienne Baker Marion schoeler haylee stolee-smith

alex naylor Scene Shop Co-ordinator

Additional Costume Painting By Chrome Yellow

David Retzleff Head Scene Shop Carpenter

Marilyn Rodwell Wardrobe Mistress

andrew Walker Assistant Scene Shop Carpenter Richard gordon Head Scenic Artist Katherine Lilly Assistant Head Scenic Artists scott Williamson Rehearsal Head Technician guy nokes Properties Supervisor

PRODUCTION

Rafe Macpherson Wardrobe Assistant sharon Ryman Wig & Make-up Supervisor Cori ferguson Head of Wig & Make-up Crew shawna green Production Co-ordinator gunta Dreifelds SURTITLES™ Producer gillian Bartlett SURTITLES™ Editor

elizabeth upchurch Head of the Ensemble Studio & Coach

Lee Milliken Production Manager

stephanie Tjelios Resident Properties Builder/Co-ordinator

Vanessa Macdonald SURTITLES™ Assistant

Derek Bate Resident Conductor

David feheley Technical Director

Kathy frost Properties Buyer/ Co-ordinator

Music Staff Rachel andrist esther gonthier stephen B. hargreaves anne Larlee Ben Malensek Christopher Mokrzewski Kinza Tyrrell felice Venanzoni eric Weimer

Barney Bayliss Associate Technical Director

Supernumeraries Co-ordinators analee stein elizabeth Walker

Tracy Taylor Properties Builder/ Co-ordinator

DEVELOPMENT

Assistant Technical Directors Melynda Jurgenson Wendy Ryder

Olwyn Lewis Company Manager

Janice fraser Head Electrician

susan Rome Costume Co-ordinator

Kathryn garnett Scheduling Manager

Joel Thoman Assistant Electrician

Costume Assistants Kiyomi hidaka Lina Marques

Michael Barrs Assistant Scheduling Manager

al Merson Head of Sound

Karen Olinyk Administrative Assistant, Music Birthe Joergensen Archivist, Joan Baillie Archives ian Cowie Orchestra Personnel Manager

Wendy greenwood Lighting Supervisor

Paul Watkinson Head Carpenter Mike gelfand Assistant Carpenter Rupert Baker Head Flyman alison Potter Head of Properties

Properties Builders Carolyn Choo Wulf sandra Corazza Costume Supervisor

sue furlong Resident Tailor Assisted By Marianne alas Deniz Cakin Karen hancock ilana harendorf Carolyn Kasperski Additional Costumes by Christine audet Karen Rodd industry Costumes

FSCPA – Four Seasons Centre for the Performing Arts

Canadian Opera Company 2011/2012 Season

Christie Darville Director of Development Jill Planche Associate Director, Individual Giving Dawn Marie schlegel Senior Development Officer, Individual Giving & Donor Programs Leeanne Rorabeck Senior Development Officer, Individual Giving natalie sandassie Senior Development Officer, Annual Programs andrea Lauzon Foundations and Government Relations Officer

stephen Radbourn Donor Relations Officer

Jennifer Pugsley Media Relations Manager

aisha Talarico Development Officer, Friends of the COC

Cecily Carver Social and Interactive Media Co-ordinator

Kevin sean Pook Individual Giving Co-ordinator, Friends of the COC

eldon earle Marketing Co-ordinator

stephanie hunt Development Officer, Individual Giving & Ensemble Circle

Olga Kwak Digital Marketing Co-ordinator gianmarco segato Retail and Editorial Co-ordinator

adriana formusa Individual Giving Co-ordinator

Maria Lioutaia Publicist

nikita gourski Development Communications Assistant

amanda hadi Communications Assistant

Carlie Weppler Senior Development Officer, Corporate Development

John Kriter Volunteer and Creative Assistant

sybil Choles Development Officer, Corporate Programs

eDuCaTiOn anD OuTReaCh Katherine semcesen Associate Director, Education

Peggy Lau Co-ordinator, Corporate Development

Carly anderson Manager, Child and Youth Programs

Tracy Briggs Manager, Special Events

Vanessa smith Manager, School Programs

Christine Tizzard Co-ordinator, Special Events

CaLL CenTRe sarah frankel Call Centre Manager Call Centre Representatives atanas Bozdarov elaine gault alex gladwell stephen Kreuger Richard Paradiso Tomasz smereka adriano sobretodo Jr. Margaret Terry Mauro Victoriano FINANCE AND ADMINISTRATION Lindy Cowan, Ca Director of Finance and Administration Ray gooden, fCa (u.K.) Finance Manager General Accountants florence huang Zoran Orlić (fSCPA) Payroll Accountants Jovana Bojovic Jeanny Won steven sherwood Manager, IT Services Tony sandy IT Services Assistant nick Mitropoulos Computer Services Assistant

TiCKeT seRViCes alan Moffat Patron Relationship Manager

Katarina Božović Receptionist/ Switchboard

COMMUNICATIONS

andrea salin Associate Manager, Ticket Services

Branka hrsum Mailroom Clerk/ Courier

Claudine Domingue Director of Public Relations

nikki Tremblay Assistant Ticket Services Manager

BUILDING SERVICES

Jeremy elbourne Director of Marketing

David nimmo Group Sales Co-ordinator

Phil stephens Senior Manager, Sales and Customer Service

Ticket Services Supervisors erin Cook Lilian fung Victor Widjaja

Olena Moldovan Data Processing Co-ordinator

suzanne Vanstone Senior Communications Manager, Editorial gianna Wichelow Senior Communications Manager, Creative Jennifer Dougall Digital Marketing Manager (on leave)

Ticket Services Representatives Terry Bursey ernest Cayemen holly Coish Danielle D'Ornellas anna Kay eldridge Peter genoway Keith Lam ian McDonnell Mary Porter Mitch Yolevsky

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Joe Waldherr Associate Director, Facilities Management Piro Milo Assistant Building Services Manager Security Supervisors Videsh Dookhu Dave samuels

Security Officers george Balyasin Joel grannum Tammy hill natalia Juzyc usman Khalid Kathleen Minor heather Reid Building Operators Dan Bisca Radu Chereji Dan Popescu Paula Da Costa Resident Supervisor – Eurest Service FOUR SEASONS CENTRE FOR THE PERFORMING ARTS alfred Caron Director, Four Seasons Centre for the Performing Arts elizabeth Jones Associate Director, Business Development Megan Valde Business Services Assistant Jefferson guzman Associate Director, Patron Services Kim hutchinson-Barber Assistant Manager, Front of House Brigitte Lang Assistant Manager, Food & Beverage Patron Services Supervisors Kelly Bailey stuart Constable enrique Covarrubias Cortes Jamieson eakin Melissa Lapczynski adam Orr Brynn Pearson Rebecca Riddell ashley Westlake Kimberly Wu Carianne hill Patron Services Lead

Maintenance Assistants Ryszard gad (COC) Branislav Peterman (COC) Julian Peters (COC) Tymen de Vries (fsCPa) James esposito (fsCPa) Piotr Wiench (fsCPa)

!S .AMING $ONOR OF THE &OUR 3EASONS #ENTRE FOR THE 0ERFORMING !RTS WE ARE PROUD TO BE A LIFELONG FRIEND OF THE FINE ARTS EXPERIENCE FOR PATRONS HERE AND FROM AROUND THE WORLD

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

Kolter Communities

ArIAS: Canadian Opera Student development fund

The Catherine and Maxwell Meighen foundation

The Gerard & earlaine Collins foundation

e. louise Morgan

The late John A. Cook

Joey & Toby Tanenbaum

roger d. Moore

The estate of Horst dantz and don Quick

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.

$1,000,000+ The estate of Horst dantz & don Quick‡ $500,000 – $999,999 The Catherine and Maxwell Meighen foundation $100,000 – $499,999 Anne & Tony Arrell Paul Bernards david G. Broadhurst Jean davidson & Paul Spafford Philip deck & Kimberley Bozak George S. dembroski Gail & Bob farquharson estate of ethel Berney Jackson‡ Judy & Wilmot Matthews Trina & don McQueen Tim & frances Price Colleen Sexsmith Sandra l. Simpson The Slaight family riki Turofsky & Charles Petersen Jack Whiteside Anonymous‡ $25,000 – $99,999 estate of daphne Bell earlaine Collins ethel Harris & the late Milton e. Harris ronald Kimel & Vanessa laPerriere Marjorie & roy linden estate of Aldo & Anita Maggiorotti

Jill & Geoff Matus roger d. Moore Wendy J. Thompson and the late Samuel A. rea The Stratton Trust françoise Sutton William & Phyllis Waters Anonymous (1) UP TO $24,999 Cecily & robert Bradshaw Marcia lewis Brown Ian & June Cockwell Catherine fauquier david & Kristin ferguson Peter & Hélène Hunt Hon. Henry n. r. Jackman‡ Patrick & Barbara Keenan J. Hans Kluge Jo lander Peterson family foundation david roffey & Karen Walsh Katalin Schäfer robert Sherrin dr. david Stanley-Porter & dr. Colin McGregor Mailer Kris Vikmanis & denton Creighton Samara Walbohm estate of Hugh Victor Wallace Anonymous (2)

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INDIVIDUAL ANNUAL SUPPORT GOLDEN CIRCLE GOLD, $50,000 + Anne & Tony Arrell**** david G. Broadhurst* In memory of Gerard H. Collins**** Jerry & Geraldine Heffernan**** The Catherine and Maxwell Meighen foundation**** roger d. Moore**** Arthur & Susan Scace**** Colleen Sexsmith** Sandra l. Simpson* SILVER, $25,000 – $49,999 Andrew Peller limited Mark & Gail Appel*** Paul Bernards*** Cecily & robert Bradshaw Stephen Clarke & elizabeth Black* Philip deck & Kimberley Bozak*** George & Kathy dembroski**** Mr. & Mrs. W. Humphries*** ronald Kimel & Vanessa laPerriere**** Susan loube & William Acton* BRONZE, $12,500 – $24,999 dr. & Mrs. Hans G. Abromeit**** Philip & linda Armstrong* Ms nora Aufreiter Melissa & Barry Avrich John & Claudine Bailey**** 19

Christian Franz as Siegfried (back to camera) in the COC’s Siegfried, 2005. Photo: Michael Cooper

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

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

Barbara Black* Mr. Philip J. Boswell†**** Walter M. & lisa Balfour Bowen**** Susanne Boyce & Brendan Mullen*** rob & Teresa Brouwer* Marcia lewis Brown Stewart & Gina Burton* Mr. and Mrs. Alexander Christ**** 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* david & Kristin ferguson**** George fierheller**** Margaret & Jim fleck* lloyd & Gladys fogler*** four Seasons Hotels & resorts** Adam & Sharin froman 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*** William & nona 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*** don McQueen & Trina McQueen, O.C.* John McVicker & B. W. Thomas**** Johanna Metcalf*** delia M. Moog** Jonathan Morgan & Shurla Gittens* Sue Mortimer**** nicholas & rosemary Mutton Mrs. & Mr. Christl & Karl niemuller** donald O’Born** Peter M. Partridge**** Ian & Michelle Pearce Tim & frances Price**** Ms r. raso**** david roffey & Karen Walsh***

Barrie rose & family*** John A. rothschild* Philip & Maria Smith** Stephen & Jane Smith**** Marion & Gerald Soloway** david e. Spiro*** david Stanley-Porter**** ryerson & Michele Symons 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. Avie Bennett**** Mrs. A. ephraim diamond & family**** 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 lewitt* Jerry & Joan lozinski**** John Macfarlane* The Hon. Barbara Mcdougall*** Mrs. louise O’Shea**** rogan foundation Mr. & Mrs. r. T. ruggles**** françoise Sutton** dr. david Shaw* Carol Swallow*** Anonymous (1) PATRON, $3,750 – $7,499 Clive & Barbara Allen**** Mr. Peter Allen* Sue Armstrong*** ron Atkinson & Bruce Blandford*** Mrs. n. A. Balciunas**** Mona H. Bandeen, C. M.** Karen & Bill Barnett

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l. H. Bartelink in memory of Oskar & Irmgard Gaube** dr. Thomas H. Beechy**** Mr. doug & Mrs. Alison Bell Mr. & Mrs. eric Belli-Bivar*** dr. Catherine Bergeron** Mr. roland Bertin**** Tom Bogart & Kathy Tamaki* William & Anna Maria Braithwaite* dr. david & Constance Briant**** dr. Jane Brissenden & dr. Janet roscoe**** Mrs. donna Brock** Margaret & derek Brown**** Murray & Judy Bryant** Sharon & Howard Campbell* Joe & laurissa Canavan Cesaroni Management limited** Paul G. Cherry & dean C. noack**** Peter & frances Chiddy* frank Ciccolini**** The rt. Hon. Adrienne Clarkson Marilyn Cook* Mr. & Mrs. William J. Corcoran** lindy Cowan† & Chris Hatley** Mrs. ninalee Craig*** norman Curtis**** raul Werneck de Castro** Jill denham & Stephen Marshall* dr. Jeanne deinum**** Carol derk & david Giles* Bernard & francine dorval** Peter & Anne dotsikas** Vreni & Marc ducommun*** Bud & leigh eisenberg*** 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. Alastair W. Gillespie**** Ben & Sarah Glatt**** Peter & Shelagh Godsoe* rose & roger Goldstein *** Michael & Anne Gough**** ronald & Birgitte Granofsky**** douglas & ruth Grant John & Judith Grant** John Groves*** Gudrun Hackert*** 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†** The Jackman foundation*** Victoria Jackman*** dr. Peter Janetos* Mr. robert C. Jefferies****

dr. Joshua Josephson & Ms elaine lewis**** lorraine Kaake**** Patrick & Barbara Keenan**** dr. Joel Keenleyside**** Jim & diane King* Joseph Kerzner & lisa Koeper**** 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** Vincent & Helene lobraico* Angelo & Grace locilento** Tom C. logan* Jonathan & dorothea lovat dickson* Mrs. J. l. Malcolm* dr. & Mrs. M. A. Manuel* Hon. Margaret & Mr. Wallace McCain** Christa & robert Mcdermott* Paul & Jean McGrath**** Kathleen Mclaughlin & Tim Costigan* June Mclean**** Mr. Ulrich Menzefricke**** dr. Thomas & Mrs. Catherine H. Millar dr. Judith A. Miller*** Bruce & Vladka Mitchell* Professor david J. Murray*** eileen Patricia newell** Mrs. Sally-Ann noznesky**** e. Oliana & A. Iu*** Keith & Brenda Ottaway*** dr. & Mrs. William M. Park**** douglas l. Parker**** John & Gwen Pattison* Polk family Charitable fund** Julian Porter, Q.C.* Mary Jean & frank Potter*** Margrit & Tony rahilly**** Wendy J. Thompson and the late Samuel A. rea**** Mrs. Gabrielle richards** rob & Penny richards*** Margaret A. riggin* Gordon robison & david Grant* Joseph l. rosenmiller** Maxwell l. rotstein & nancy-Gay rotstein**** Annie & Ian Sale Ms Sharon Cookie Sandler*** Judy & Hy Sarick**** Sam & esther Sarick*** Helen & John Scott* dr. ralph Shaw & June Shaw**** Allan & Helaine Shiff**** david & Hilary Short*** Judy & Hume Smith*** dr. Harley Smyth & Carolyn McIntire Smyth*

dr. John Stanley & dr. Helmut reichenbächer** drs. Wayne Stanley & Marina Pretorius* doreen l. Stanton**** dr. richard & Jane Stoneman* Mr. & Mrs. Michael Tatham* Kathryn J. Thornton**** Anthea Thorp**** Vincent Tovell, O.C.*** Ian Turner** rosalind & dory Vanderhoof donald & Margaret Walter**** Hugh & Colleen Washington* William r. Waters*** ruth Watts-Gransden**** dr. Virginia Wesson** dr. Jack Williams & dr. dorothy Pringle** Mr. & Mrs. richard Wookey*** linda young* Tricia younger The youssef-Warren foundation*** Helen Ziegler** Sharon Zuckerman**** Helen & Walter Zwig**** Anonymous (7) 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 & Mrs. Claire 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*** Schuyler Bankes & family*** lindy Barrow** Ms roxanne Bartel dr. frank Bartoszek & Mr. daniel O’Brien**** florence Sharpe Barwell**** Julia Bass & david Hamilton** Alice & Tom Bastedo** rene Beaulieu dr. Gail Beck, O. Ont. & Mr. Andrew fenus Mr. & Mrs. Peter & Sondra Beck

Canadian Opera Company 2011/2012 Season

Ms Marie Bérard†** dan Bereskin, Q.C. & rhoda Gryfe** nani & Austin Beutel**** John n. & Miranda A. H. Birch J. Bismillah* Anneliese and Walter Blackwell**** Susanne Blake*** lynn Blaser & John van Ogtrop**** Ian & Janet Blue** John & Ila Bossons* Mr. W. Bowen & Ms S. Gavinchuk†*** Mrs. Carolyn Bradley-Hall & Mr. William Bradley*** Mrs. richard Bradshaw*** Sylvia Brander**** Peter Brieger & Beverley Hamblin* Brian Bucknall & Mary Jane Mossman**** Alice Burton** Thomas J. Burton* Barrie & Betty Cade** Maureen Callahan & douglas Gray* Margaret Harriett Cameron**** della H. Campbell**** Brian & ellen Carr**** Gail Carson**** Wendy M. Cecil**** dr. & Mrs. Albert Cheskes** Birte von Chlumecky-Bauer** John d. Church dr. Howard M. Clarke** edward Cole & Adrienne Hood** Brian Collins & Amanda demers* Tony & elizabeth Comper* Murray & Katherine Corlett*** Harold & Anita Corrigan*** dr. lesley S. Corrin**** Margaret Couch** Gay & derek Cowbourne* Irene & Keith Croot*** ruth & John Crow*** Andreas Curkovic Mary Beth Currie & Jeff rintoul Carrol Anne Curry*** Ms lindsay dale-Harris & Mr. rupert field-Marsham**** doris J. daughney dr. & Mrs. Michael & Ute davis** Brian J. dawson** Michael & Honor de Pencier*** Mrs. rosario de Wit-farro*** Mrs. leonard G. (Anne) delicaet & Mrs. Kendra Anne delicaetAlmasi**** Mary-Kathleen delicaet & John young Perry & rae dellio*** Angelo & Carol delZotto*** Mr. & Mrs. elvio delZotto* Mr. & Mrs. A. J. diamond*

Mr. david S. dick 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* Mr. Albert d. dunn* ron dyck & Walter Stewart*** William & Gwenda echard**** Jean edwards* Wendy & elliot eisen*** Mr. & Mrs. John J. elder**** 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*** fraser & Margot fell**** lee K. ferrier*** William & rosemary fillmore** Mr. & Mrs. Cosimo & Christina fiorenza** dr. Sidney M. fireman* Mrs. lois fleming**** david & elizabeth forster** robert & Julia foster** Margaret & david fountain**** Mr. Michael A. french* Judith Ann fullerton* robert fung** John & rita Gagliano 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**** 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** dr. noëlle Grace & The Shohet family*** Jane Greene* Mr. finn Greflund & Mrs. M. Ortner* Mr. Carmen & Mrs. Vittoria Guglietti* ellen & Simon Gulden**** Anna l. Guthrie****

Mr. & Mrs. Henry Hackenspiel**** dan Hagler & family** Ms francess G. Halpenny**** Mr. Adrian J. Hamel George & Irene Hamilton**** John & ruth Hannigan Beverly Hargraft* Michael Harris & Carol rak* Valerie & Brian Harris**** Mr. d. Harrison & dr. e. fischer* Paul & natalie Hartman* david Harquail & Birgitta Sigfridsson* Jenny Heathcote**** Mr. Thomas G. Heintzman & Ms Mary Jane Heintzman** Caroline Helbronner** Jacques & elizabeth Helbronner** Ann & lyman Henderson**** Thea Herman & Gregory King** William e. Hewitt*** Mr. Tom Higgins** 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* dr. Melvyn l. Iscove** elliott Jacobson & Judy Malkin* lynne Jeffrey*** laurence Jewell* The norman & Margaret Jewison Charitable foundation**** Mrs. e. Patricia Johnson** Ms elizabeth Johnson* dr. Albert & Bette Johnston* Joyce Johnston** Peter Kalen* Joseph & Maureen Katchen david W. & Sheryl l. Kerr* Inta Kierans**** Peter Kingsmill* ellen & Hermann Kircher**** Mr. douglas Klaassen** dr. elizabeth Kocmur**** Michael & Sonja Koerner** robin Korthals & Janet Charlton* dr. robert Kosnik**** richard J. Kostoff** Valarie Koziol William & eva Krangle****

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richard T. la Prairie* elizabeth & Goulding lambert*** leslie & Jo lander**** robert & Judith lawrie 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**** douglas l. ludwig & Karen J. rice** dr. robert G. luton**** Ms Jane loughborough* Mary lu & Bruce Macdonald**** James & Connie Macdougall**** Mr. Jed MacKay**** dr. & Mrs. richard Mackenzie**** Mrs. r. MacMillan**** Tom & Catharina MacMillan**** Macro Properties ltd.* Susan & Scott Maidment** dr. Colin McGregor Mailer**** r. Manke**** 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* dr. & Mrs. donald C. McGillivray**** ronan McGrath & Sarah Perry darcy & Joyce McKeough* don Mclean & diane Martello 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** eileen Mercier**** MI9 Business Intelligence Systems Ingrid & daniel Mida* Marvene (Cox) & Gordon Miller** lee Milliken† & doug Macnaughton* Patricia & frank Mills** Ms Kamini Milnes* Audrey & david Mirvish**

Shannon Mercer, Krisztina Szabó and Joni Henson in the COC’s Così fan tutte, 2006. Photo: Michael Cooper

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

*Friends of the COC give a charitable membership gift between $150 – $2,249 annually.

dr. david n. Mitchell & dr. Susan M. Till*** Mr. donald Mitchell robert & Janet Mitchell* eva Mocarski* dr. & Mrs. S. Mocarski* Anne Moore**** Mr. robert Morassutti**** Alice Janet Morgan*** Ada & Hugh G. Morris* Ms rosalind Morrow* drs. Christopher & Pippa Moss** Gael Mourant & Caroline Hubberstey Mr. noel Mowat** 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*** Simon & Marlene nyilassy dr. James & Mrs. Valda Oestreicher** Janice Oliver** Benson Orenstein*** Martin & Myrna Ossip* Julia & liza Overs*** John Pahapill* dr. & Mrs. n. Pairaudeau**** Isabel Pargana & raimondo Maltese lee Parsons Mrs. Margaret Ann Pattison**** John & Penelope Pepperell* dr. r. G. Perrin* Mr. William Perry* John & Carol Peterson** M. J. Phillips**** June C. Pinkney**** Johann C. Pinto robin B. Pitcher*** Wanda Plachta*** Jill† & ron Planche Georgia Prassas**** C. edward rathé**** Stephen ralls & Bruce Ubukata** The Carol & Morton rapp foundation**** Kenneth f. read**** Grant l. reuber*** 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*** Mallory Morris Sartz & John Sartz****

Stewart & dianne Saxe**** dr. & Mrs. Bruce Schaef**** Beverly & fred Schaeffer**** Katalin Schäfer*** 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* dorothy Cohen Shoichet** William Siegel & Margaret Swaine* In memory of dr. Bernard Slatt dr. & Mrs. Jeremy Sloan* Jay Smith & laura rapp* Kenneth & Catherine Smith*** Ms Muriel Smith & Mr. eric Ojala*** dr. Joseph So*** Philip Somerville* John & ellen Spears*** Martha e. Spears*** Alex & Kim Squires**** Oksana r. Stein*** Mr. & Mrs. Gary & Sula Stern* dr. & Mrs. Stephen Stern*** John d. Stevenson*** James H. Stonehouse* dr. Peter Stroz & dr. Sophia Pantazi*** Janet Stubbs Sunny Crunch foods ltd. eric Tang & dr. James Miller* Mr. Arthur Paul Tarasuk* Mr. & Mrs. Gordon Taylor*** Judith Teller foundation**** Tesari Charitable foundation** John Todd & Jenny Ginder**** John & liz Tory**** diana Tremain**** riki Turofsky & Charles Petersen* Sandra & Guy Upjohn** dita Vadron & James Catty* Tony & Mary van Straubenzee*** dr. r. B. Van Winckle edmond & Sylvia Vanhaverbeke*** Mr. & Mrs. Henry & Ann louise Vehovec*** dr. yvonne Verbeeten** dr. Helen Vosu & donald Milner**** richard & nathalie Wachsberg Samara Walbohm & Joe Schlesinger dr. O. r. Waler* elizabeth & Michael Walker** Peter Webb & Joan york**** Philip & diana Weinstein* dr. Bogomila Welsh* Ms eleanor Westney* Melanie Whitehead** Ms Anne-Marie Widner & Mr. Paul Szymanski*** Mr. Brian Wilks*

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elizabeth Wilson & Ian Montagnes**** Jeffrey Stewart Wilson* dr. Jackson Wu & dr. Viviana Chang erik yeo Morden yolles**** Marina yoshida*** dr. Howard & Sybil young**** Tricia younger* George Zeman Susan Zorzi** Anonymous (25) FRIENDS OF THE COC As of February 29, 2012 SUSTAINING FRIENDS $1,600 – $2,249 In memory of M. Baptista** dody Bienenstock* Iivi Campbell**** Jayne & Ted dawson**** J. e. fordyce**** Mr. A. Mafrici**** Mrs. Annette Oelbaum* Clarence & Mary Pace** dr. roger d. Pearce*** dr. norbert V. Perera**** Go Sato**** Jim Stewart & deborah Swail* Mr. Alex Tosheff Mr. & Mrs. Vernon & Beryl Turner*** Gordon Waugh*** Ms June yee** Anonymous (2) ASSOCIATE FRIENDS $1,100 – $1,599 Ms I. M. Allen**** Howard A Back Michael & Janet Barnard* Michael Benedict & Martha lowrie**** don Biderman**** dr. Wendy C. Chan Patricia Clarke** Cogeco data Services Mr. John A. Crocker & Mrs. Mary Crocker*** elaine & Michael davies**** Mr. darren day** Prometheum Institute*** dr. domville** r. dalton fowler**** John H. Galloway**** dr. Gabriela Gohla Aviva & Andrew Goldenberg** Mr. Henry Gooderham** Suzy Greenspan** Jean & Bill Heaslip**** lawrence & Beatrice Herman*** Mr. david Holdsworth & Ms nicole Senecal* Mr. Josef Hrdina* donald Hughes*** James Hughes**

20 2012路2013 SEASON N

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The COC presents Tristan und Isolde. Video still by Bill Viola, Opera national de Paris, 2004. Photo: Kira Perov. Creative: Endeavour

Ms elisa Kearney Ms Suanne Kelman & dr. Allan J. fox* Ms K. Margot Khan Mr. Martin Kirr & Ms Suzanne McCuaig Mr. & Mrs. Owen & Margie Kurin* duncan & Sondra lear P. Anne Mackay**** Mrs. Janet Maggiacomo* Brian Miron & Monica Vegelj* Mr. Carl Morey*** Mr. Sean O'neill*** Barbara & Peter Pauly* Ms Alexandra Petrenko Ms Victoria Pinnington** Mr. & Mrs. Porporo* dr. Peter ray*** dorothy & robert ross*** A. K. Sigurjonsson*** C. Anderson Silber* dr. & Mrs. Bernie & Bobbie Silverman** david Smukler & Patricia Kern** norma and George Steiner**** Ms Peg Thoen* Wendy Thorburn* dr. M. lynne Thurling & dr. John Treilhard** Bill MacKenzie & Alan Westbrook*** Janet White* ron Williams* Anonymous (3) CONTRIBUTING FRIENDS $700 – $1,099 Carol A. Albright*** dr. doron Almagor dr. I. l. Babb fund at the Toronto Community foundation*** Peter & leslie Barton** Jeniva Berger*** david W. Binet dr. B. derek & dr. Anne W. Birt**** dr. Jennifer Blake* Ms Marlene Bohn* Mary Brock & Brian Iler**** Mr. Thomas n. Bryson** Ms Judith Burrows** Theresa & John Caldwell**** Betty Carlyle**** Mark Cestnik**** Harold Chmara & danny Hoy**** Joe T. r. Clarke**** d. M. Cook*** Valerie Cowie Mr. & Mrs. norman & louise Coxall*** Mr. neil Crawford Professor K. G. davey, OC** don deBoer & Brent Vickar*** Mrs. Grace diez* Mr. Michael disney* Maureen & Jack ditkofsky

Mr. Steven d. donohoe**** Howard & Kathrine eckler** Peter & Shashi eden* Mr. ray eleid Ms eleanor l. ellins**** Mr. larry enkin ** Joe & Helen feldmann** Brian A. ferguson*** richard & Gail flack** Tom flemming**** Mr. Morris flicht**** Mrs. & Mr. Jennifer & francis flower*** dr. & Mrs. A. Mervyn fox**** linda & Ken foxcroft* douglas G. Gardner*** elinor Gill ratcliffe C.M., O.n.l. Alison Girling and Paul Schabas* Mr. Alexander Globe lisa & Harvey Golombek in memory of Hilda & Isie Golombek* ricardo Gomez-Insausti* dr. Wilfred S. Goodman**** Mrs. Marion A. Green**** dr. & Mrs. Voldemars Gulens Gisele Hall Mr. James Hamilton* Philo Handler** dr. & Mrs. Brian & Cynthia Hands**** Mr. & Mrs. e. roy Harrison**** Ms leslie Hart Mr. & Mrs. H. C. Hatch*** Sandra Hausman** W. l. B. Heath**** In memory of Pauline Hinch* richard & Susan Horner**** dr. Ivan & Mrs. diana Hronsky**** Pierre Hurtubise**** Ms Catherine Hutt* Mr. Sumant Inamdar* Mr. Jai Jayaraman Mr. Kazik Jedrzejczak**** frances e. Johnson**** douglas & dorothy Joyce**** Heidi & Khalid Khokhar*** Mai Kirch**** dr. & Mrs. l. A. Kitchell**** Mr. & Mrs. I. P. & O. M. Komarnicky*** Mr. & Mrs. Armin Kratel*** Mr. Jonathan Krehm* Horace & elizabeth Krever**** Gediminas P. Kurpis**** Mr. James r. lake**** Harry lane** M. J. Horsfall large** Giles le riche & rosemary Polczer** Claus & Heather lenk* Mr. yakov lerner Mrs. Mary liitoja**** dr. francois loubert Craig & Karen* Ms dzidra M. Martinaitis* Kathy Marton

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dr. Peter Voore*** rick & Virginia Walker* Mr. John M. Welch**** James and Margaret Whitby**** Mr. and Mrs. Karl Wildi david B. & Virginia Wortman** Ms Iris Zawadowski* Anonymous (17) 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 Mr. l. H. Bartelink 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 Ann J. Gibson Michael & Anne Gough l. A. Grover George & Irene Hamilton Joan l. Harris James Hewson John r. Higgins Mr. Kim yim Ho & Walter frederic Thommen douglas e. Hodgson Matt Hughes

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 Mr. Shawn Martin Margaret McKee Sylvia M. McPhee dr. Alan C. Middleton eleanor Miller Sigmund & elaine Mintz donald Morse Sue Mortimer Mr. & Mrs. James d. Patterson Mervyn Pickering Gunther & dorothy Piepke 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 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 (48) OPERATOURS DONORS $700 + From March 2011 – February 2012 dr. eric W. Amann Andrew & Cornelia Baines**** Howard & ruth Barrett Ian & Janet Blue** Walter M. & lisa Balfour Bowen**** Suzanne & James Bradshaw**** nancy H. Conn norman Curtis**** Mr. Steven d. donohoe**** dr. Irene Gulka donald Gutteridge & Anne Millar dr. & Mrs. richard Mackenzie**** Mrs. J. l. Malcolm* Judy & Wilmot Matthews*

Canadian Opera Company 2011/2012 Season

John & esther Mcneil*** Mr. Alex Moraru dr. robert e. Munn Ms H. M. Murata** dr. Ago Peters dr. Krystyna Prutis-Misterska Peter & lili rechnitzer Joan l. reid Mr. Stanley and Mrs. loretta Skinner**** Paul & Maria Szasz**** Marion Wilson**** Ms June yee** Anonymous (3) CORPORATE MATCHING PARTNERS The Canadian Opera Company gratefully acknowledges the following organizations that have matched gifts by their employees: Canadian Tire Corporation limited IBM Canada ltd. Ivanhoe Cambridge Inc Goodman & Company, Investment Counsel ltd. fM Global foundation Ketchum Canada Inc. The above Individual Support Gifts were made as of March 12, 2012. * ** *** **** † ‡

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

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

Four Seasons Centre for the Performing Arts. Photo: Sam Javanrouh

Corporate Sponsorship The Canadian Opera Company welcomes financial support from corporations that appreciate the advantages of partnering with one of Canadaâ&#x20AC;&#x2122;s premier performing arts companies. A variety of sponsorship opportunities can be customized to meet branding, marketing and corporate entertainment needs including production, performance, official orchestra and chorus sponsorships, as well as official supplier partnerships at the Four Seasons Centre for the Performing Arts. Corporate sponsorship offers exciting privileges that you and your company can enjoy all year long. For further information, please contact Carlie Weppler at 416-306-2321 or carliew@coc.ca.

MAJOR CORPORATE SPONSORS 2011/2012 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

BMO financial Group Pre-Performance Opera Chats and BMO financial Group Student dress rehearsals Production Sponsor Saariaho’s Love from Afar

Major Supporter, ensemble Studio

Xstrata ensemble Studio School Tour

Production Sponsor Handel’s Semele

Official Canadian Wine of the COC at the fSCPA

Presenting Sponsor Opera Under 30 and Operanation 8: A Muse Ball

Supporter, education and Outreach Programs

Preferred Hospitality Sponsor

KPMG Opera Golf Classic

Production Co-sponsors Zemlinsky’s A Florentine Tragedy and Puccini’s Gianni Schicchi

Preferred fragrance

Official Media Sponsors

Canadian Opera Company 2011/2012 Season

Official Spirit of the COC at the fSCPA

Official Airline Sponsor

digital Marketing Sponsor

201 1/2012 SPONSORS RENTALS SUPPLIER

PREFERRED FLORISTS

Quince flowers Tidy’s flowers OTHER SUPPLIERS

THe BUTler dId IT nestlé Waters Torrié Coffee Mill Street

DIAMOND PERFORMANCE SPONSORS

PERFORMANCE SPONSORS ArIAS delvinia fionn MacCool’s four Seasons Hotels and resorts McCarthy Tétrault

OPENING NIGHT SPONSOR fionn MacCool’s HOSTING SPONSOR

PROGRAM SPONSORS Great West life, london life and Canada life, Living Opera Program Sponsor The Globe and Mail, Ticket Back Sponsor KPMG llP, Xstrata Ensemble Studio School Tour Performance Sponsor CORPORATE AND FOUNDATION DONORS MaJOR gifTs

2011/2012 MEDIA SPONSORS & IN-KIND SUPPORTERS CBC radio Two remenyi House of Music ltd. KPMG OPERA GOLF CLASSIC TiTLe sPOnsOR KPMG llP OPERANATION 8: A MUSE BALL PResenTing sPOnsOR Td Bank Group

$10,000+ Audrey S. Hellyer Charitable foundation The Hope Charitable foundation The Hal Jackman fund at the Ontario Arts foundation The Mclean foundation Anonymous (1)

DinneR sPOnsOR e-l financial limited

$5,000 to $9,999 local 58 Charitable Benefit fund SnC lavalin Unit Park Holdings Inc.

eVenT suPPORTeRs The Balvenie Best Pr Boutique CTV HellO! Canada ICOn Model Management Inc. Quince flowers rose reisman Catering Storys The Globe and Mail Torrié espresso Wellington Printworks

$3,000 to $4,999 The Calgary foundation – nellie Hicks Memorial fund $2,000 to $2,999 Classical 96.3 fM Jarvis & Associates MAC Cosmetics Shinex Window Cleaning Inc. $1,000 to $1,999 Aeroplan Canada loyaltyOne McKinsey & Company Milgram Group of Companies ltd. Truck ‘n roll The Powis family foundation

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OffiCiaL fRagRanCe Calvin Klein forbidden euphoria PaRTneRing sPOnsOR dundee real estate Asset Management (dreAM)

FINE WINE AUCTION 2012 PResenTing sPOnsORs Td Securities Bloomberg suPPORTing sPOnsOR Thomson reuters Cheese sPOnsOR Cheese Boutique

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

OPeRaTing suPPORT

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

enseMBLe sTuDiO

sPeCiaL PROJeCT funDing for the many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: department of Canadian Heritage Human resources and Skills development Canada Ontario Arts Council Ontario Cultural Attractions fund

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, local #828.

SUPERNUMERARIES liz Allemang denis Arseneault Aidin Beck Sherily de Silva Mike Gibbons

Canadian Opera Company 2011/2012 Season

Angela Hydes Woody Jarvis nicole Stawikowski Basil Tamkei

SEMELE

TRANSFORMATIONS BY ERIC DOMVILLE

The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. A scene from Théâtre Royal de la Monnaie, 2009. Photo: Karl Forster

Canadian Opera Company 2011/2012 Season

he greatest strength of myths is their enduring relevance, whereby each human generation may re-interpret them in light of its own needs and challenges. The gods of Greek mythology are only too human in their foibles, weaknesses and rivalries. The main difference from mankind (apart from magical powers) is that the gods are immortal. For Handel (1685 – 1759) and the early 18th century – the Age of Reason – these myths offered a treasure trove of ultimately

THE ART OF SONG

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Renée Fleming Hartmut Höll, piano

Fri Apr 20,

8pm

A recital of highly dramatic and passionate French, German and English songs, including selections from Poèmes, her latest CD. Sponsored by

Layla Claire, soprano Thursday May 3, 8pm Glenn Gould Studio

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SEMELE Transformations

The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. (l – r) Nathan Berg as Cadmus, David Hansen as Athamas and Ying Huang as Semele, Théâtre Royal de la Monnaie, 2009. Photo: Zhang Huan Studio

reassuring models. The age disliked unhappy endings, since they contradicted its belief in the eventual triumph of good over evil. “Whatever is, is right,” as Handel’s admirer Alexander Pope expressed it in his Essay on Man (1734). Handel had established his reputation as the leading composer of works in the opera seria tradition: musical settings of Italian texts presenting stories from classical mythology and history. The form was severely restricted: a succession of da capo arias (built on an ABA structure) with very few ensembles and a chorus limited to the opening and closing moments. Handel displayed his greatness in his resourceful handling of such restrictions. Operas would be performed at various times of the year, but especially in the period from December 26 to Shrove Tuesday. 22

Canadian Opera Company 2011/2012 Season

Theatres closed the following day, Ash Wednesday, for the penitential season of Lent. During that period performances of oratorios took place in churches or concert halls. Handel had created the English tradition of oratorio in 1718 with Esther. Oratorios mainly treated biblical or other religious subjects, although a few dealt with mythological stories. This is where Semele comes in. Handel composed it at his usual high speed, in a month from June 3 to July 4, 1743. The original libretto was drafted by the Restoration playwright William Congreve in 1707 as part of a vain effort to protect opera in English against the tidal wave of Italian works. Handel retained much of Congreve’s text, although the best-known number, “Where’er you walk,” is taken from Pope’s Summer.

2012/13 201 2 /13

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Alice’s Ali ce s

Adventures Adven ntures in Wonderland W d Returnss Novembe November er 2012! national.ballet.ca national.ba allet.ca 416 416 345 3 45 9595 95 595 Greta G re t a H Hodgkinson, odgkinson, R Robert obert S Stephen tephen a and n d JJillian illian V Vanstone a n s t o n e iin nA Alice’s l i c e ’s A Adventures d v e n t u r e s in i n Wonderland. W o n d e r l a n d . Photos P h o t o s by b y Christopher C h r i s t o p h e r Wahl. Wa h l .

SEMELE Transformations

The work was first performed “in the manner of an oratorio” on February 10, 1744, as part of the Theatre Royal’s Lenten concert series. However, early audiences were shocked at the frank sexuality of much of the work, particularly at such a holy time of year. It is difficult today to appreciate the outrage felt by many opera enthusiasts at what now seems very tame. They also expressed reservations at the devious manner in which Handel slipped in an opera under the excuse of “oratorio.” One of his other collaborators, Charles Jennens, who had compiled the text of Messiah a couple of years earlier, noted

snarkily about Semele: “No Oratorio, but a bawdy Opera… An English Opera, but called by fools an Oratorio, and performed as such at Covent-Garden.” Call it what you will, Semele is one of those works on an English text which permitted Handel to move away from the rigid conventions of opera seria towards the greater fluidity of operatic form more familiar to us. The heroine still has a string of da capo arias, each evoking a different aspect of her personality, but there are also more ensembles (duets, quartets) and greatly increased involvement for the chorus.

The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. A scene from Théâtre Royal de la Monnaie, 2009. Photo: Karl Forster

Canadian Opera Company 2011/2012 Season

SEMELE Transformations

Semele herself often suffers from bad press. Commentators tend to call her vain and empty-headed as she allows herself to be destroyed by Juno’s jealousy. Yet she is in love with Jupiter, head of the gods. It’s no wonder she is swept off her feet and fantasizes about living with him. She is carrying his child, a boy later to become the powerful god Bacchus. For his part, Jupiter, whose favourite form of exercise is to seduce mortal women through very peculiar disguises – a swan, a bull, a shower of gold – seems genuinely in love with her. His anguish strikes home as he realizes her fate when he is to appear before her in his full godhead. Juno, the wronged wife, is goddess of the home and marriage as well as protector of women in childbirth. Her jealousy is completely understandable, although one may consider her vengeance a shade too extreme. The mandatory “happy ending” dictates that Semele’s fiancé, Athamas, should marry her sister, Ino. The deus ex machina, Apollo, god of reason and equilibrium, resolves all problems and commands that Semele’s baby will be plucked, Phoenixlike, from her ashes to be raised by Jupiter and to become the future god of the dark side, Bacchus. Zhang Huan – a Chinese sculptor, photographer and performance artist – directs the COC’s Semele. Zhang has directed this production at Théâtre de la Monnaie in Brussels in 2009 and then in Beijing in 2010. He is an extraordinarily prolific and successful visual artist, working mainly in New York and Shanghai, where he employs 100 assistants. Initially he would often use his body as a form of theatre wherein he tried to unite the physical and the spiritual. His deepening interest in Buddhism lends extra emphasis to his use of the basic elements of life, notably earth, dirt and incense ash. 26

Canadian Opera Company 2011/2012 Season

The COC presents Semele, a co-production of Théâtre Royal de la Monnaie, Brussels and KT Wong Foundation. Ying Huan as Semele, Théâtre Royal de la Monnaie, 2009. Photo: Zhang Huan Studio

Passion. Pride. Performance.

All the Right Moves The same strong focus and discipline that took Geon van der Wyst to the top of his profession as principal dancer, has taken his career in real estate to award winning levels. His level of skill and service has clients saying: “I successfully sold my house in Lawrence Park in a quiet market, thanks to Geon van der Wyst’s expert guidance that eased the complicated process from beginning to end. I could not be happier with the experience and the result.” – L. Hertzman “It was a pleasure listing my Forest Hill Town House with Geon. It sold within 24 hours of the Agents’ Open House at above asking... Geon was most professional throughout and created outstanding PR materials for the listing as part of his service. I look forward to working with him again.” – John Theo

Geon van der Wyst Passion. Pride. Performance.

Geon van der Wyst, Sales Representative 416.921.1112 Office 416.824.3527 Cellular TM

SEMELE Transformations

The extra-large heads he sculpts consist mainly of steel and ash; permanence and transience. In 2012, two of Zhang’s several exhibitions are “Swept Away: Dust, Ashes and Dirt in Contemporary Art and Design” in New York and “Buddhism in Art” in Hong Kong. In an interview on YouTube, he remarks that “a good artist has to be illogical” and goes on to claim that he likes to take two completely different things and make something new out of them. Contradicting himself, Zhang proves quite logical in this production, which unites so many of his diverse concerns. He fuses Handel’s Baroque masterpiece with traditional Chinese theatrical practices. Dominating the set is a genuine temple, about 450 years old, of the Ming Dynasty (1368 – 1644). Zhang bought the structure, had it disassembled and transported to his Shanghai studio, where it was patiently reassembled and restored. It has now been brought, piece by piece, to Toronto. This shrine replaces the palaces of the Greek gods. As the overture plays, a black and white documentary film traces the recent history of the temple, with the result that Handel’s music becomes a soundtrack. During the excavation of the temple, Huan discovered several personal mementoes including the diary of a man who lived in the temple 20 years ago. The diary disclosed that the man’s beautiful wife, Ruan Jinmei, was unfaithful to him. Ultimately, the man murders one of her lovers, resulting in

his incarceration and execution by firing squad. During the main action, Zhang offsets the stately dynastic ritual of the drama with such whimsical elements as a “stage donkey” and a huge inflatable puppet on the roof during the comic interlude between Juno and Somnus, the god of sleep, as she initiates her revenge. Yet the prevailing mood is one of tragedy (“Whatever is, is wrong”). This production finishes with the incineration of Semele and the sweeping away of her ashes as a funeral procession exits. We may be denied the consolation of Apollo’s prophecy, but perhaps Semele will be reincarnated in accordance with Buddhist teaching. Visually, the production is sumptuous. Han Feng has designed costumes combining Chinese and European Baroque features. Each main character has a distinctive colour scheme, which plays off against the saffron robes of the monks. Rudyard Kipling wrote: East is East, and West is West, and never the twain shall meet… But there is neither East nor West When two strong men stand face to face, though they come from the ends of the earth! Whatever the outcome, Handel’s glorious music is sure to carry the day. n Eric Domville is a Professor Emeritus of English at the University of Toronto. He lectures and broadcasts on opera, and is a member of the COC Volunteer Speakers Bureau.

FOR FURTHER INSIGHTS INTO SEMELE, PLEASE READ CARLY ANDERSON’S “MYTH MANIFEST: ZHANG HUAN’S SEMELE” IN THE SPRING ISSUE OF PRELUDE, AVAILABLE ONLINE AT COC.CA/PUBLICATIONS.

Canadian Opera Company 2011/2012 Season

Perfect Match

Talk about a perfect match: every dollar you contribute to the COC until June 30, 2012 will be matched in value by an anonymous donor and directed to our prestigious Ensemble Studio training program. That means your gift goes twice as far in developing the next generation of Canadian opera singers, directors and conductors. And that means opera of superlative quality will continue flourishing in Canada. To learn more about participating in the Year-End Matching Appeal, please visit coc.ca or call us at 416-847-4949.

* The COC recognizes individual donations with a charitable tax receipt for the maximum amount allowable under the Canada Revenue Agency guidelines. Carlo Ventre as Cavaradossi and Adrianne Pieczonka as Tosca in the Canadian Opera Company production of Tosca, 2012. Photo: Michael Cooper

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 smartphones and all other electronic devices is extremely disruptive and is strictly prohibited during performances. If a patron has an emergency and needs to be contacted during a performance, he or she should contact Patron Services for assistance before the performance. Cameras/Recording Devices The use of cameras, video cameras or sound-recording devices of any kind is prohibited in R. Fraser Elliott Hall during performances. 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 2011/2012 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 for the Performing Arts Box Office also services ticketing needs for The National Ballet of Canada and all other Four Seasons Centre events. Group Sales Groups of 10 or more enjoy savings on regular individual ticket prices. For more information or to reserve seats call 416-306-2356. Parking There is parking on a first-come, first-served basis for about 200 vehicles underneath the Four Seasons Centre. The entrance is located on the west side of York Street, south of Queen Street. Additional parking is conveniently located just steps away in the Green P lot underneath Nathan Phillips Square. For directions visit www.greenp.com. Four Seasons Centre Facility Tours Tours of the Four Seasons Centre now include backstage access! For more information, visit fourseasonscentre.ca. BMO Financial Group Pre-Performance Opera Chats The Canadian Opera Company Volunteer Speakers Bureau offers free, insightful chats about the stories, music and background of all COC performances, 45 minutes prior to each performance in the Richard Bradshaw Amphitheatre. Food and Beverage Service A pre-order system for intermission refreshments is available at all bars throughout the Isadore and Rosalie Sharp City Room. Food and beverages are not permitted in R. Fraser Elliott Hall. Special Events and Catering The Four Seasons Centre is available for rental for all of your presentation, meeting or special events needs, with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit 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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