Language: In Italien with English and French subtitles
Duration: 3 hrs. (including one intermission of 20 minutes)
Figaro
Susanna
Count Almaviva
Countess Almaviva
Cherubino
Bartolo
LEON KOŠAVIĆ
ANDREA NÚÑEZ
HUGO LAPORTE
KIRSTEN MACKINNON
KATIE FERNANDEZ
SCOTT BROOKS
Marcellina
Don Basilio / Don Curzio
Barbarina
RACHÈLE TREMBLAY
ANGELO MORETTI1
EMMA FEKETE1
Antonio
Donna 1
MATTHEW LI1
ODEI BILODEAU
Donna 2
Conductor
Stage Director
Costumes and Set Designer
Lighting Designer
Choreographer
Choreographer Supervisor
Chorus Master
Rehearsal Pianist
Chorus Pianist
MAUDE CÔTÉ-GENDRON
NICOLAS ELLIS
STEPHEN LAWLESS
LESLIE TRAVERS
THOMAS C. HASE
ERIC SEAN FOGEL
NOËLLE-ÉMILIE DESBIENS
CLAUDE WEBSTER
HOLLY KROEKER
PIERRE MCLEAN
Chœur de l’Opéra de Montréal
Current member of the Atelier lyrique de l’Opéra de Montréal
Scenery for this production was constructed by Lyric Opera of Kansas City
Costumes for this production were constructed by Kansas City Costume Company
This production is jointly owned by
Lyric Opera of Kansas City, Opera Philadelphia, San Diego Opera and Palm Beach Opera
partners
September 23, 26, 28, 2023 at 7:30 p.m. and October 1, 2023 at 2 p.m.
Salle Wilfrid-Pelletier, Place des Arts
The Opéra de Montréal sincerely thanks the Conseil des arts et des lettres du Québec, the Ministère de la Culture et des Communications du Québec,
Experience the magic of the Opera
Opera creates community. Everyone who loves opera has a story to tell about why they do. Ask anyone who’s seated around you tonight about when or how they’ve discovered opera and you will hear wonderful stories about standingroom seats while studying abroad, about mothers, fathers or uncles who sang opera, about baking with family on Saturday mornings while listening to The Met on the radio, and of course, recollections of first visits to Opera de Montreal.
Tonight we’re creating more of those stories: for many of the artists on stage who waited more than two years through the pandemic for the chance to perform their roles, for members in the audience who may be witnessing their first opera tonight, for those who will come away from the performance uplifted, with a deeper understanding of the power of Mozart’s genius, and the pertinence of Beaumarchais socially disruptive play, almost 250 years since it was banned, and ultimately premiered in Paris.
The Marriage of Figaro has been at the heart of the operatic repertoire since 1786, steadfast in its inspiration to opera.
As such, it has also been at the heart of countless personal stories that bear witness to how this peerless art form is so cherished. Let us celebrate this tonight and keep our hearts wide open to all who will remember this performance as the moment they knew they loved opera.
Thank you for being here tonight and for being part of this community. As you leave the theatre tonight, we hope you reflect on the importance of your presence to the future of opera in Montreal. We wish you a most unforgettable evening.
BMO is excited to present magical moments of the Montreal Opera. Prepare to be enchanted by captivating stories and incredible vocal performances.
Patrick Corrigan
Times Change. Around the time of The Marriage of Figaro’s premiere in 1786, a revolutionary tide was sweeping over Europe. In its wake, discontent with the aristocracy and the ancien régime soon took on seismic proportions.
Created by the Mozart-Da Ponte tandem, this opera was prophetic to an extent.
Veiled behind its elegance of musical design, apparent lightheartedness of various scenes, genteel expressions, and elaborate finery lay many controversial ideas that were to define the French Revolution.
Liberté—Égalité—Fraternité
Three ideals that align with values advocated by today’s societies: equity—inclusion— diversity.
Count Almaviva’s abuses of power are defied, his manipulations thwarted.
Figaro marries Susanna despite the privileges of the aristocracy and all its scheming ways.
Considering the many disruptions of power witnessed since the outset of our millennium, Le Nozze di Figaro surely stands as an opera of our time.
Enjoy the show!
BWolfgang Amadeus Mozart
(January 27, 1756 – December 5, 1791)
orn in Salzburg, Mozart displayed uncanny musical talent at an early age, composing his first operas while still a boy. However, a suitably prestigious position was to elude him all his life, due partly to his complicated personality. He finally managed to secure a job as a court organist prior to the premiere of Idomeneo, an opera seria considered one of the greatest examples of the genre. Its success led Mozart to take up residence in Vienna, marking the beginning of his maturity as a composer. In 1782, he wrote Die Entfuhrung auf dem Serail, a comic opera that paved the way for the success of Le nozze di Figaro (1786), an unparalleled synthesis of music and drama containing some of the most sublime ensemble writing in all opera. He then explored the dark side of traditional comedy in Don Giovanni (1787), depicting the exploits and eventual punishment of an inveterate womanizer. Così fan tutte (1790), a study of human frailty, features some of Mozart’s most empathetic and realistic characters. His last great opera, Die Zauberflote (1791) hides a message of love, truth, and brotherhood—set to music of profound spirituality and majesty—beneath its simple, fairy-tale plot. In Vienna, Mozart also composed several masterpieces in other genres: piano concerti and sonatas, symphonies, string quartets, a clarinet concerto, the Mass in C minor, and the unfinished Requiem Mass.
The Atelier lyrique of the Opéra de Montréal ensures that the artists develop to their full potential, while fostering their autonomy, leadership, and self-achievement. In partnership with RBC Emerging Artists, we support organizations that provide the best opportunity to advance an artist’s career.
SYNOPSIS
Act 1
Susanna, chambermaid to Countess Almaviva, and Figaro, valet to the Count, are actively preparing for their wedding: but things prove to be complicated, as Almaviva intends to exercise his droit du seigneur on the future bride, and Figaro must deal with the machinations of Marcelina, Don Basilio and Bartolo. And then there is the skirt-chasing young page, Cherubino, who surprises Count Almaviva as he woos Susanna. To get rid of him, Almaviva decides to send him to the army. Figaro waxes ironically about the little page’s new assignment.
Act 2
In order to turn Count Almaviva away from Susanna, Figaro has set up a plan: in a note, he will make the Count think that the Countess, his sadly neglected wife, is to meet a fictitious lover that very evening. And for the assignation that the Count has given Susanna in the garden, her place will be taken by Cherubino dressed as a woman! Cherubino sighs.
The complications multiply: Susanna and the Countess have managed to play the Count, and the Count saw nothing but fire when Cherubino, hidden in the Countess’s chambers, saved himself by jumping out the window. But from his flower beds Antonio the gardener has seen everything – or so he thinks. He runs to report the scene to his master. Figaro, who missed an episode, finds it difficult not to continue the blunders in front of Almaviva. Marcelina, Bartolo and Don Basilio arrive, planning to take advantage of the situation to settle scores with Figaro. The greatest confusion reigns.
Intermission - 20 minutes
Act 3
Count Almaviva considers his vengeance. Was he played or not? Is Susanna, who agreed to his assignation, concealing something from him? And to think that he can no longer throw Marcellina into Figaro’s arms! By an amazing coup de théâtre, the matron is revealed to be Figaro’s mother! Countess Almaviva sings of her nostalgia for happy times. Figaro finally outwits the Count and his marriage to Susanna takes place.
Act 4
Night, and in the castle garden all the uncertainties and pretences are coming together: Will Susanna deceive her Figaro? No, of course not; Figaro is simply unaware that Susanna and the Countess have connived to confuse the Count. Furthermore, the Count is caught in his own trap, and when he thinks he is surprising his wife in flagrante delicto, he is the one who must beg final forgiveness – in the tenderest and most luminous fervour ever written by Mozart.
Reference: opera-online.com
A CLEVER MAN WILL MAKE THE MIGHTY PAY
FIGARO Leon Košavić
BARITONE CROATIA
After successes in Croatia early in his career, Leon Košavić went on to appear with numerous opera companies throughout Europe, including in London (Covent Garden), Stuttgart, Liège, Antwerp, Lausanne, and Strasbourg. He was also a member of the ensemble at Theater St. Gallen. Projects in the current season include his debut at the GrandThéâtre de Genève in La Juive, Masetto (Don Giovanni) at Teatro Regio Torino, Papageno (Die Zauberflöte) at the Royal Opera House Covent Garden, and a debut at Opernhaus Zürich as Ottokar (Der Freischütz). OdM debut
Leon Kosavic’s participation is made possible thanks to the generous support of Joyce Fung, in memory of Theodore Fung.
COUNTESS ALMAVIVA
Kirsten MacKinnon
SOPRANO CANADA
Described by Opera UK as a “heroine [with] poise, expressive singing, excellent vocalism, and a dark and full tone,” Kirsten MacKinnon has captured the attention of audiences across North America and Europe. Opera highlights include Fiordiligi (Così fan tutte) at the Canadian Opera Company and Glyndebourne Festival; Inès (L’Africaine), the Countess (Capriccio), Micaëla (Carmen), Countess Almaviva (Le nozze di Figaro), and Hanna Glawari (The Merry Widow) at the Frankfurt Opera; Micaëla at Opera Philadelphia; and Helena (A Midsummer Night’s Dream) with the Aix-en-Provence Festival on tour to Beijing. OdM debut.
Kirsten MacKinnon’s participation is made possible thanks to the generous support of John Farrell & François Leclair.
SUSANNA Andrea Núñez
SOPRANO CANADA
Andrea Núñez is establishing herself as a versatile young artist. A recent graduate of the Atelier lyrique de l’Opera de Montréal, she made her Opéra de Montréal debut as The Page in Rigoletto, Woglinde in Das Rheingold, and Alice B. Toklas in Twenty-Seven (Atelier lyrique). She also portrayed the Governess in The Turn of the Screw with Orchestre de l’Agora and Giulia in La scala di seta with the Orchestre symphonique de la Vallée-du-Haut-Saint-Laurent. Her American debut was as Monterone’s Daughter/Page in Rigoletto as part of the Santa Fe Opera Apprentice Artist Program. She also created the role of Pvt. Sonia Gonzalez in An American Soldier at Opera Theatre of Saint Louis. She represented Canada at the Queen Sonja International Music Competition in 2019. Last OdM appearance: The Magic Flute (2022) Andrea Nunez’s participation is made possible thanks to the generous support of Carlos S. Idarraga.
Former member of the Atelier lyrique de l'Opéra de Montréal.
CHERUBINO
Katie Fernandez
MEZZO-SOPRANO CANADA
Katie Fernandez made her Canadian stage debut as Stéphano (Roméo et Juliette) at the Opéra de Montréal. She has performed as a soloist with Vancouver Island Opera, the Kamloops Symphony, Ópera Guadalajara, Orquesta Sinfónica de Zapopan, the symphony orchestras of Laval and Longueuil, the Surrey City Orchestra, and the West Coast Symphony. Having begun her musical journey as a young pianist and as part of the Langley Ukulele Ensemble, she performs a variety of genres and shares her passion for music off-stage with her students. Last OdM appearance: Roméo & Juliette (2018)
Katie Fernandez’s participation is made possible thanks to the generous support of the Sanders Family.
Former member of the Atelier lyrique de l'Opéra de Montréal.
“Perfect elegance” (Avant Scène Opéra) – “A warm and rich voice” (Bachtrack) – His “magnificent baritone filled the entire hall with his charisma: a powerful voice and a convincing performance that immediately captivates the audience” (L’Opéra). Young FrenchCanadian/Québécois baritone Hugo Laporte, acclaimed for his elegant singing, velvety timbre, and captivating stage presence, is the winner of several competitions. He regularly performs in Europe, North America, and Asia. Hugo Laporte will be making his debut at La Scala in Milan in 2023. Last OdM appearance: Madama Butterfly (2023)
Hugo Laporte’s participation is made possible thanks to the generous support of Dr. François Loubert.
Scott Brooks
Scott Brooks performances at the OdM include Monterone (Rigoletto) and the Duke of Verona (Roméo et Juliette). Other recent appearances include Figaro (Le nozze di Figaro) and Il commendatore (Don Giovanni) with the Festival d’opéra de Québec. On the concert stage, his repertoire includes Beethoven’s Missa solemnis, Mozart’s Requiem, and Handel’s Messiah. His professional debut was as Schaunard (La bohème) at the Wexford Opera Festival and his Canadian professional debut was as Dr. Bartolo with the Vancouver Opera. Last OdM appearance: Champion (2019)
Former member of the Atelier lyrique de l'Opéra de Montréal.
COUNT ALMAVIVA
Hugo Laporte
BASS-BARITONE CANADA
BARTOLO
MARCELLINA
Rachèle Tremblay
MEZZO-SOPRANO
CANADA
Rachèle Tremblay’s performances include Miss Smith (La Cantatrice chauve) at the Opéra de Montpellier, Ljubica (Svadba) at the Opéra de Montréal, Rosina (Il barbiere di Siviglia) with the Société d’Art lyrique du Royaume, Mercedes (Carmen) with Jeunesses musicales Canada, and Czipra (Le baron tzigane) with Opéra bouffe du Québec. As a member of the Atelier lyrique, she sang Miss Todd (The Old Maid and the Thief) and Die Hexe (Hänsel und Gretel). She has appeared at festivals in Quebec as well as in concert in Japan and China. Last OdM appearance: Svadba (2018)
Former member of the Atelier lyrique de l'Opéra de Montréal.
Angelo Moretti
TENOR CANADA
Canadian-Italian tenor Angelo Moretti made his professional debut in 2022 at the Opéra de Montréal in the role of Ruiz in Verdi’s Il Trovatore. Moretti also performed the role of Count Almaviva in the University of Toronto Opera’s first ever production of Rossini’s The Barber of Seville; also at U of T, he sang the role of Martin in Aaron Copland’s The Tender Land. In 2023-24, Angelo will appear in The Marriage of Figaro (Don Basilio and Don Curzio) and in La Traviata (Gastone) at the Opéra de Montréal. He will also be heard as Nemorino with the Orchestre symphonique de Drummondville and as Remendado in Carmen with the Orchestre symphonique de Trois-Rivières. Last OdM appearance: L’enfant et les sortilèges (2023)
Angelo Moretti’ participation is made possible thanks to the generous support of Joan Vogelesang and Fred Heese. Member of the Atelier lyrique de l'Opéra de Montréal.
Soprano Emma Fekete has performed in Canada, the Netherlands, and in Switzerland, notably appearing with the Netherlands Philharmonic Orchestra, OPERA2DAY (The Hague), Théâtre Orchestre Bienne Soleure (TOBS), Orchestre de l’Agora, the Société d’art vocal de Montréal, and Ensemble Volte. In 2023-24, Emma will make her debut at the Opéra de Montréal in the role of Barbarina in The Marriage of Figaro and will be heard in the title role of The Coronation of Poppae with the Atelier lyrique. Last OdM appearance: L’enfant et les sortilèges (2023)
Emma Fekete’s participation is made possible tanks to the generous support of Isabelle Murray and Dominic Chalifoux.
Member of the Atelier lyrique de l'Opéra de Montréal.
ANTONIO
Matthew Li
Hailing from Ottawa, Chinese Canadian bass Matthew Li has notably performed Sarastro in The Magic Flute, Masetto and the Commendatore in Don Giovanni, Colline in La Bohème, the Commissioner in Madama Butterfly (Opéra de Montréal), and Le Fauteuil/Un Arbre in L’enfant et les sortilèges (Atelier lyrique/Orchestre de l’Agora). In 2022-2023, Matthew created the lead role of Xon Pon in the new opera Chinatown by Alice Ping Yee Ho and Madeleine Thien, with City Opera Vancouver. His concert highlights include the bass solos in Dvořák’s Stabat Mater, Schütz’s Weihnachtshistorie, Mozart’s Requiem, and Steffani’s Stabat Mater. In 2022, he was a finalist at the Canadian Opera Company’s Centre Stage Competition. Last OdM appearance: Madama Butterfly (2023)
Matthew Li’s participation is made possible thanks to the generous support of the Andrea Alacchi Family.
Member of the Atelier lyrique de l'Opéra de Montréal.
CONDUCTOR
Nicolas Ellis
Nicolas Ellis is the Artistic Director, Conductor and Founder of the Orchestre de l’Agora and currently serves as Artistic Partner to the Orchestre Métropolitain and Yannick Nézet-Séguin. He was recently named Principal Guest Conductor of Les Violons du Roy starting in the 2023–2024 season. Mr. Ellis has performed as guest conductor with numerous Canadian orchestras including the Vancouver Symphony, the National Arts Centre Orchestra, the Orchestre de chambre I Musici de Montréal, the Kitchener-Waterloo Symphony, the Orchestre symphonique de Québec, Symphony Nova Scotia, the Saskatoon Symphony Orchestra, the Royal Conservatory of Music in Toronto and Les Grands Ballets Canadiens. Last OdM appearance: L’enfant et les sortilèges (2023)
Nicolas Ellis’s participation is made possible thanks to the generous support of André Ferraro, in memory of Lucie Monette.
STAGE DIRECTOR
Stephen Lawless
Stephen Lawless’ most recent and current engagements include The Turn of the Screw and Owen Wingrave (Theater Lübeck), Peter Grimes (Theater Magdeburg), Le nozze di Figaro (Cincinnati Opera, San Diego Opera, and Palm Beach Opera)‚ Roméo et Juliette (Gran Teatre del Liceu)‚ Anna Bolena (Canadian Opera Company)‚ Roberto Devereux (Los Angeles Opera), L’elisir d’amore (Seattle Opera), Lucia di Lammermoor (Staatstheater Oldenburg), Così fan tutte (Theater Essen), Manon Lescaut (The Grange Festival), and Katya Kabanova (Scottish Opera/Theater Magdeburg). He was production director for the Glyndebourne Touring Opera from 1986 to 1991. OdM debut
SOPRANO
BARBARINA
Emma Fekete
BASS CANADA
DON BASILIO / DON CURZIO
COSTUMES AND SET DESIGNER
Leslie Travers
UNITED KINGDOM
Multiple award-winning designer Leslie Travers is recognized as one of the leading stage designers of his generation—for opera, theatre, dance, and ballet. Current and recent opera projects include La Rondine, Falstaff, and Billy Budd (Opera North); Francesca da Rimini and Manon Lescaut (La Scala); Aida (St. Gallen); Die Meistersinger von Nürnberg (Oper Leipzig); Le nozze di Figaro (Israeli Opera, Kansas City Opera, Opera Philadelphia, San Diego Opera); I Puritani (Gran Teatre del Liceu); Werther (Opéra National de Lorraine, Opéra de Québec, Opéra de Marseille); and many more. OdM debut
CHOREOGRAPHER SUPERVISOR
Noëlle-Émilie Desbiens
Noëlle-Émilie Desbiens began training as a dancer at the age of 5. She completed her training in Montreal at the École supérieure de théâtre musical, where she studied singing, theatre, and dance. She has appeared in several television productions and on stage, notably at the Cairo Opera. She has frequently been involved as a choreographer, consultant, and dancer for various Opéra de Montréal productions. Last OdM appearance: Carmen (2019)
CHORUS MASTER
LIGHTING
DESIGNER Thomas C. Hase
UNITED STATES
Thomas C. Hase has earned international recognition for his dynamic designs in opera, theatre, and dance. The New York Times called his lighting for the Tony-Award winning revival of Company “superb.” He has worked at many major opera houses and regional theatres in the United States, as well as in Europe, Canada, South America, and Asia. His work can also be seen in several productions recorded for broadcast and distribution. He is also the resident lighting designer and director for the Cincinnati Opera Summer Festival. Last OdM appearance: Tosca (2017)
Claude Webster
Claude Webster has worked in the field of opera as a rehearsal pianist and vocal coach for some thirty years. His work is widely recognized in North America and Europe. Internationally sought after as a specialist in the French repertoire, he has participated in many programs including those in Tel Aviv, Berlin, Ravinia and New York. He was the head coach at the Atelier lyrique de l'Opéra de Montréal from 1997 to 2017 and has been the Opéra de Montréal’s chorus master since 2007. Last OdM appearance: Madama Butterfly (2023)
Former member of the Atelier lyrique de l'Opéra de Montréal.
CHOREOGRAPHER
Eric Sean Fogel
Eric Sean Fogel has been Head of Stage Movement and Choreography at the Glimmerglass Festival for 12 seasons and is also a Guest Stage Director at the Metropolitan Opera. Choreography credits include several world premieres, as well as productions at the Kennedy Center. He has also created new productions for Opéra National de Bordeaux, Chicago Lyric Opera, Chicago Opera Theatre, Hawaii Opera Theatre, Houston Grand Opera, Lyric Opera of Kansas City, Los Angeles Opera, Opera Philadelphia, the Royal Opera of Versailles, Seattle Opera, Theater St. Gallen, and Washington National Opera. OdM debut
REHEARSAL PIANIST
Holly Kroeker
CANADA
Holly is an operatic vocal coach, collaborative pianist and répétiteur based in Montreal, QC. A graduate of Opera de Montreal’s Atelier Lyrique Young Artist Training Program (2018-2021), she currently works as pianist and assistant to musical formation for the program. Other recent production credits include Bluebeard’s Castle (Against the Grain Theatre), Don Giovanni (National Arts Centre/Banff Centre), Cosi Fan Tutte (Opera Kelowna) and Madama Butterfly (Opera de Montreal), as well as a new music workshop of Vavrek/Cusson’s Indians on Vacation. Last OdM appearance: Madama Butterfly (2023)
Former member of the Atelier lyrique de l'Opéra de Montréal.
Pierre McLean
Pierre McLean is much sought after as a vocal coach, accompanist, pianist, and musical director working in these various capacities with such institutions as Université de Montréal, the Schulich School of Music, Atelier lyrique de l’Opéra de Montréal, Orchestre symphonique de Montréal, Opéra de Montréal, Jeunesses musicales Canada, Productions Belle Lurette, the Canadian Vocal Art Institute, Opéra-Théâtre de Rimouski, and Concours musical international de Montréal, as well as with other music ensembles and soloists. Last OdM appearance: Ainadamar (2023)
Former member of the Atelier lyrique de l'Opéra de Montréal.
CANADA
CHORUS PIANIST
FIRST VIOLINS
Yukari Cousineau, Solo
Oleg Larshin, Associate
Johanne Morin, Assistant
Monica Duschênes
Carolyn Klause
Florence Mallette
Alexander Lozowski
Ariane Bresse
Marie-Claire Cousineau
Julien Oberson
SECONDS VIOLINS
Nancy Ricard, Solo
Lucie Ménard, Associate
Lizann Gervais, Assistant
Sylvie Harvey
Helga Dathe
Daniel Godin
Isabelle Bélanger-Southey
Jean Ai Seow
Flavie Gagnon
Flaviu Zanca
VIOLAS
Julie Dupras, Solo
Élisa Boudreau, Associate
Gérald Daigle, Assistant
François Vallières
Sarah Martineau
Valérie Arsenault
Camille Mireault-Lalancette
Vincent Delorme
CELLOS
Christopher Best, Solo
Julien Siino, Associate
Agnès Langlois, Assistant
Thérèse Ryan
Vincent Bergeron
Carla Antoun
DOUBLE BASSES
René Gosselin, Solo
Marc Denis, Associate
Réal Montminy, Assistant
Gilbert Fleury
FLUTES
Caroline Séguin, Solo
Jocelyne Roy
OBOES
Mélanie Harel, Solo
Kirsten Zander
CLARINETS
Simon Aldrich, Solo
François Martel, Bass Solo
BASSOONS
Michel Bettez, Solo
Gabrièle Dostie-Poirier
FRENCH HORNS
Louis-Philippe Marsolais, Solo
Simon Bourget
TRUMPETS
Antoine Mailloux, Solo
Lise Bouchard
TIMPANI
Julien Bélanger, Solo
PIANO FORTE
Holly Kroeker, Solo
MUSIC LIBRARIAN
Jeff Domoto
CHOIR
SOPRANOS
Isabelle D. Leclerc
Sophie De Cruz
Marie-Claire Drolet
Kripa Nageshwar
Odei Bilodeau
MEZZO-SOPRANOS
Chantal Denis
Maude Côté-Gendron
Michelle Sutton
Marianne Cloutier
Anne Julien
Chœur de l'Opéra de Montréal Supernumeraries
Théo Chauvirey
Eli Maksoudian
Billy Thiffault-Lavoie
Loïc Thomas
TENORS
Nathan LeLièvre
Jaime Sandoval
Mathieu Abel
Julien Girard
Gustave Richard
BARITONES
Clermont Tremblay
Emanuel Lebel
Jordan Delage
Jean-Philippe Laroche
Philippe Morin
Thanks to the generous and lasting support of the Vanda Treiser Initiatives, the artists of the Atelier lyrique benefit from the best resources to realize their artistic potential.
FOR ITS SUPPORT OF THE NEXT GENERATION OF OPERA
STARS, MANY THANKS TO THE VANDA TREISER
La Fondation Azrieli est fière de soutenir l’Opéra de Montréal dans la découverte, l’élévation et l’amplification de nouvelles voix à travers l’Atelier lyrique.
The Azrieli Foundation is proud to support Opéra de Montréal in discovering, elevating and amplifying new voices through the Atelier lyrique.
Photo: Tam Photography
Vanda Treiser with the Atelier lyrique 23/24 cohort, and Jennifer Szeto, Director of Atelier lyrique.
The Marriage of Figaro:
An Ideal Opener for Nicolas Ellis
For our first production of the 2023–2024 season, conductor Nicolas Ellis is poised to make his debut at the podium of the Salle Wilfrid-Pelletier. And how better to mark this important milestone than with The Marriage of Figaro, Mozart’s flagship work if ever there was one!
From the Symphony to the Opera
Already well-known to Montréal audiences, Nicolas Ellis began his career in the realm of symphonic repertoire before delving into the world of opera. “I was always curious to see what went on in that sphere. Working with singers, exploring the theatrical substance of a work, deciphering how to bring that out in the orchestra and in the text—I have always been interested in this process.”
The opportunity to delve into opera came at the beginning of a fruitful collaboration between the Orchestre de l’Agora, which he founded in 2013, and the Atelier lyrique de l’Opéra de Montréal. After eight years, the resulting projects have only strengthened his affinity for this fascinating art. “As
an orchestral conductor, when you study the score and manage to make connections, to understand and decode relationships between the text and the music, it’s as if a door opens and you’ve unearthed a treasure trove. After that, the entire challenge lies with one’s ability to convey that to an audience.”
Immediately after The Marriage of Figaro, Ellis goes on to conduct another collaborative adventure, Monteverdi’s The Coronation of Poppea, presented on November 18 and 19 at the Salle PierreMercure.
A Cornerstone of the History of Opera
Besides Montréal, Nicolas Ellis paid visits to the Aix-en-Provence Festival and the Opéra Comique in Paris to broaden his operatic horizons, assisting with major productions before flying off to Austria twice this past summer. There, he refined his work on The Marriage of Figaro in Salzburg, Mozart’s birth city, alongside young conductor Raphaël Pichon and the Vienna Philharmonic. The enjoyment Nicolas Ellis derives from probing the score of The Marriage of Figaro is beyond satisfying.
“All Mozart’s genius lies in his synthesis of everything that was done before him,
while taking it even further,” says Ellis. “At several points, we get a glimpse of how opera was subsequently going to evolve. In various vocalise passages, for example, we can already hear Rossini. Mozart also played around a lot with codes. While Beaumarchais’ play elicited amusement from criticizing the aristocracy of his day, Mozart did the same through music. We can feel all the joy he finds in turning the plot into something very sarcastic.”
A Still-Relevant Critique of Society
Throughout the opera, the character of the Count attempts to exercise his feudal privilege to continually delay Susanna’s wedding by attempting to lure her into his bed before the nuptials take place. It’s a story that may seem absurd, if not outrageous, from our contemporary perspective.
“The work is an all-out critique, packed with humour, and some very acerbic moments. It is a reminder, especially with what has come to light in recent years that we should never take for granted that abuses of power won’t happen anymore,” stated Nicolas Ellis.
A Debut with Family
With his debut at the Salle WilfridPelletier fast approaching, how does this young conductor feel? “It’s very exciting!” he beamed. “It’s very heartwarming, because I myself have enjoyed attending many Opéra de Montréal productions. I also feel that we are doing it as a family, since it’s been five years that I have collaborated with the Orchestre Métropolitain, which I will conduct in the pit. I connect beautifully with the musicians, so I really do feel confident.”
The same goes for the opera artists, many of whom the conductor has gotten
to know through his collaborations with the Atelier lyrique. “That’s truly why I perform music, to share experiences with people I appreciate and with whom I enjoy working. So, yes, I’m overjoyed, but I’m also looking forward to connecting with them through such an iconic work as The Marriage of Figaro.”
This collaboration has, incidentally, been a powerful driving force in Nicolas Ellis’ career. “Collaborating encapsulates all the joy of being a conductor. We might think that a conductor makes all the decisions, when actually, the conductor is a person surrounded by a whole range of expertise. With opera, we present the achievement of all this teamwork involving many highly gifted and skilled people: singers, orchestral players, a pianist—in this case Holly Kroeker, who besides being the rehearsal pianist, will also accompany the recitatives at the fortepiano,—a stage director, and set and costume design teams. You end up learning so many things.”
The Perfect Gateway to Opera
These performances of The Marriage of Figaro are a perfect opportunity for audiences to acquaint themselves with the two great minds of Mozart and da Ponte, and to acquire that first-time experience, that introduction to opera.
“It’s really the ideal work for that. Theatrically, it’s a masterpiece—it’s hard to imagine better! I would love us to perform it in such a way that audiences are completely astonished by this music’s genius, and I hope that audiences will enjoy sitting together in a magnificent hall to dive back in time and witness a work coming alive. Opera is an amazing experience, one you can’t possibly get in any other way.”
AN UNFORGETTABLE EVENING FEATURING CANADA’S NEXT GENERATION OF OPERATIC TALENT!
Thursday, November 9, 2023 SALLE
Front row seats to the National Auditions for the Atelier lyrique artist residency, followed by the magical experience of dinner on stage with the artists. Combining the most beautiful arias of the operatic repertoire with gastronomic delights, come and experience this exceptional gala evening in support of the mission of the Opéra de Montréal and the Atelier lyrique.
The Atelier lyrique’s National Auditions finalists, selected from over 100 artists across the country, will complete once again this year for a place in the prestigious two-year artist residency.
operademontreal.com/en/events/talent-2023
Ambassadors' circle
We wish to warmly thank all our generous individual and family contributors who care to support the Opéra de Montréal and its activities. Your help is essential to the pursuit of our mission and your contribution is an integral part of the vitality of both our company and Montreal’s operatic life.
DIRECTOR CIRCLE
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de Theodore Fung
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À la mémoire de Monique Lussier
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The friends of the Opéra de Montréel
A special thanks to the FRIENDS of the Opéra de Montréal whose contributions strongly encourage us in the pursuit of our mandate.
$600 AND MORE
Philippe Alcouffe
Jody Banister
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Richard de Blois
Jean-Pierre Deschamps
Claude A. Eddo
David Essiambre
Lucy Fellowes
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$120 AND MORE
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À la mémoire de Jean-Guy Benoit
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In loving memory of Kappy Flanders
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Normand-G. Robert
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En l'honneur de Françoise Mageau
Foundation Mike
Mary C. Moffat
Jocelyne Morin
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À la nourriture de l'âme
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Alain Orvoine
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Jean Ouellette
P.K. Pal
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Desiree Park
Gianluca et Zephya Passarella
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Valerya Perelshtein
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Zavala
Marie-Soleil Pichette
Lise Pierre Pierre
Denise Pilote
Real Plourde
Serge Poisson-de-Haro
In honour of Jean-Pierre
Primiani
Zeina Rababy
Marc-André Roberge
Lesley & Mark Robinson
Madeleine Rocheleau
Hélène Rochon
Michel Rochon
Richard Rodgers
Renée and Joseph Rouleau
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Pierrette Shedleur
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À la mémoire de Henri
St-Georges
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À la mémoire de Raoul et Helene Tessier
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Marie-Claude Paquette, graphic designer
Place des Arts Sélect Vins AdVini TACT
ViniPassion
Permanent Team
Patrick Corrigan, General Director
Michel Beaulac, Artistic Director
Louis Bouchard, Strategic Operations Director
PRODUCTION
Pierre Massoud, Production Director / Patrick Belzile, Technical Director / Catherine Levac, Artistic Administrator / Marie Hélène Larivière, Production Coordinator / Drew Lyall, Technical Director Assistant / Laurence Pronier, Stage Director / Dominique Guindon, Head of Wardrobe / Sonya Bayer, AssociateHead of Wardrobe / Sandra Chirico, Wardrobe Superviser
ATELIER LYRIQUE DE L’OPÉRA DE MONTRÉAL
Jennifer Szeto, Director / Marie Maous, Program Coordinator / Geneviève Lessard, Production Manager / Esther Gonthier, Head Vocal Coach / Ariane Girard, Principal Voice Teacher / Holly Kroeker, Administrative and Artistic Associate
Administration
MARKETING & COMMUNICATIONS
Concert Team
PRODUCTION
Pierre Massoud Production Director / Patrick Belzile Technical Director / Marie Hélène Larivière, Production Coordinator / Drew Lyall Technical Director Assistant
STAGE MANAGEMENT
Laurence Pronier, Head Stage Manager / Chloé Ekker, Principal Stage Manager / Thomas Lussier, Caroline Nowacki, Léa Touzé, Assistants to the stage manager
Dominique Guindon, Head of Wardrobe / Sonya Bayer, AssociateHead of Wardrobe / Sandra Chirico Wardrobe Supervisor / Cassandre Josépovic Wardrobe Technician / Richard Provost Hat Maker and Sewer / Fauve Du Tilly-Lefebvre, Pattern Maker and Seamstress / Daniel Beaudet, Anne-Sophie Boucher, Marie-Claire Doyon, Marianne Morel-Flowerday, Christine Tremblay Seamstress-Sewer / Geneviève Fortin, Head Dresser
Head Dressers / PDA Salle WilfridPelletier Joël Boudreault
PROPS
Madeleine St-Jacques, Philippe Pointard, Head Props
HAIR
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DEVELOPMENT
Jean-Pierre Primiani, Director / Antoine Gervais, Manager, Donor Relations and Partnerships / Amy Grainger, Coordinator, Annual Campaign / Marion Malon, Coordinator, Philanthropic Events / Geneviève Levasseur, Associate, Philanthropic Events
CIVIL IMPACT AND EDUCATION
Pierre Vachon, Director, Civic Impact and Education / Charlotte Gagnon, Manager, Social Impact and Education / Béatrice Beaudin-Caille Coordinator
Pierre Lafontaine, Head – hair department / Manon Alexandre, Kareen Deest, Marie-Ève Ménard, Kimberley Murphy, Denis Parent, Guylaine Sant, Stylist
MAKE-UP
Julie Casault Head Makeup Department / Marianne Bobet, Camiel McLean, Stéphanie Villemaire, Mélina Di Cristo, Makeup Artists
RUNNER
David Couture
Technical Staff
Daniel Masse Head, carpenter / Julie Latulippe, Martin Jannard Assistant Head Carpenter / Pierre Veniot Head, sound / André Corbeil, Head Sound Assistant / David Leblanc Head, Props / Vincent Plante Head Props Assistant / Charles Denis Head, fly / Eric Piché, Head, fly assistant / Saturnin Goyer Head, Lighting / Martin Dussault, Head Ligthing Assistant
Stage technical services are provided by: L’IATSE Section Locale 56
Ms. Alysia Yip Hoi Founding President Maison Alysia
MEMBERS
M. Louis Arseneault Université McGill
M. François Carrier Valeurs mobilières Desjardins
Me. Bruno-Étienne Duguay NOVACAP
M. Frédéric Godbout, CFA Mouvement Desjardins Me Joanie Lapalme Fasken
Dr François Loubert Clinique médicale Angus M. Guillaume Marion Diagram Ventures
M. Richard Pan Power Corporation du Canada
Mme. Louise Roy, O.C., O.Q. CIRANO
Ms. Emmelle Segal
Administratrice de sociétés
Ms. Vanda Treiser
Administratrice de sociétés
Montréal etatdechoc.com
NOVEMBER 9, 2023
Salle Wilfrid-Pelletier
EVENT
Gala Talent 2023
Celebrate Canada's emerging opera artists at this unforgettable benefit event in support of the mission of the Opéra de Montréal and the Atelier lyrique. Combining the most beautiful arias of the operatic repertoire with gastronomic delights, come and experience this exclusive and exceptional gala evening on the stage of WilfridPelletier, in the company of the artists.
9 NOVEMBRE 2023
NOVEMBER 18 & 19, 2023
OPERA
The Coronation of Poppea
BY MONTEVERDI
In collaboration with the Orchestre de l’Agora
An air of mystery surrounds Monteverdi’s last opera. As the original version has been lost, musicologists have had no other choice but to use a copy whose libretto differs greatly. Nevertheless, The Coronation of Poppea remains a gem of Italian opera and stands out as an innovative and powerful work, where the music combined with dramatic action confronts us with our own contradictions.
9 NOVEMBRE 2023
FEBRUARY 3 TO 11, 2024
Salle Wilfrid-Pelletier
OPERA
La Reine-garçon
BY BILODEAU & BOUCHARD
After the great success of Les Feluettes (2016) and La Beauté du monde (2022), Quebec playwright Michel Marc Bouchard is back with his libretto for La Reine-Garçon, an adaptation of his play, Christine, la reine-garçon. He is joined by composer Julien Bilodeau, with whom he has undeniably developed a privileged creative chemistry. Come and hear great Canadian voices, including those of Joyce El-Khoury and Etienne Dupuis, in a production staged by Angela Konrad.
9 NOVEMBRE 2023
DECEMBER 14, 2023
Maison des arts Desjardins
Salle Wilfrid-Pelletier
Drummondville
L’Elisir d’amore
BY DONIZETTI
DECEMBER 16, 2023
Carré 150
CONCERT
In collaboration with the Orchestre symphonique de Drummondville Love, humor, and charlatanry! Donizetti's L'Elisir d'amore in a concert version, with costumes and lighting. Join us for a slightly zany love story!
1255 rue Jeanne-Mance, Montréal QC
Découvrez une expérience gastronomique au coeur du Quartier des spectacles. Un souper pré-spectacle servi en 45 minutes entre 17h et 18h30.
