Donor Spotlight

Roula Drossis & Mark Roberts

How did you discover the art of opera?

Roula: “Through my father who was a fan of classical music, and of Bizet’s Carmen in particular. I also spent 15 years studying piano and learned more about opera through music history classes, then eventually started attending live opera at the Opéra de Montréal.”

Mark: “Also through my father, via his vinyl records of Wagner’s Ring cycle in Sir Georg Solti’s rendition. I was predisposed to enjoy opera because of my prior interest in orchestral music, but my appreciation deepened by attending Met performances during my graduate school years in the US.’’

What’s your best memory in an opera theater?

Roula: “A very memorable presentation of Aida at the Met – I was very impressed by the staging and live horses.”

Mark: “Shostakovich’s Lady Macbeth of Mtsensk, as presented by the Met in 1994, featuring soprano Maria Ewing as the protagonist. I’m a great fan of Shostakovich in general.”

Roula Drossis & Mark Roberts

An opera artist or voice of the past or present that you are crazy about?

Roula and Mark: “Bryn Terfel! For his versatility and range, but especially for the way he engages the audience and draws them into the story and the character.”

Mark: “Also Ben Heppner, for the power of his voice and his ability to channel a character. I have a notable memory of his voice in Peter Grimes, with the Vancouver Opera in 1995.” Your favorite composer or opera?

Roula: “Still in the process of learning and getting acquainted with the repertoire.”

Mark: “Wagner, particularly his Ring cycle (the power of the music and of the leitmotiv structure). Also, Puccini, especially Turandot.

Why do you think it is important to support your local Opera company?

Roula: “Arts and cultural institutions are essential to society as a whole. It’s important to support upcoming talent and the educational opportunities that enhance one’s appreciation of the art form, such as community outreach programs and open rehearsals.”

Mark: “Any world-class city needs an opera company; the all-encompassing nature of the art form and its ability to explore the human condition and generate empathy should be considered a social good.”

Normand Cardella

Katerie Leclerc (centre) with Sue Wehner, Patrick Corrigan, Elizabeth Polese and Jesse Fine-Gagné.

How did you discover opera?

“On my own, and out of simple curiosity — first with La Bohème in Montréal in the early 1980s. But I’ve always had a general interest in arts and culture, ballet, museums...”

Your favourite opera memory?

“It was the Vienna Opera, during a vacation in Austria. I was still young and, not having a lot of money, I got a ticket in the standing room section in the Orchestra, leaning on the railing. I still remember the airs of the Queen of the Night and their staging of The Magic Flute, with a grand staircase.

The singer you love the most?

“Pavarotti. An incredible sound, which can’t help but bring a tear to the eye. I’ve listened to many tenors, including Gigli and Caruso (although it’s difficult to get an idea of the latter’s true voice, given the quality of the recordings of the time). I also really like Étienne Dupuis in EugeneOnegin.

A favourite opera?

“Iphigénie en Tauride is my favourite among the more-than 400 operas I watched online during the pandemic for its story, its drama, the relationship between brother and sister. I would also add The Queen of Spades, Simon Boccanegra, La Traviata and Cavelleria rusticana (with Tatiana Troyanos, in particular).

Why support your opera company?

Katerie Leclerc

How did you discover opera?

“My discovery of opera was twofold. First, via baritone Étienne Dupuis, a friend from elementary and secondary school in Repentigny. And then through the encouragement of a singing teacher who was himself part of the Opéra de Montréal’s Atelier lyrique.”

Your favourite opera memory?

“My first visit to the Metropolitan Opera House in New York City, where I could feel the entire history associated with that institution. Otherwise, events for the Opéra de Montréal’s Atelier lyrique, which brings you into contact with the artists in residence — for example, during the Longueuil production of Carmen.”

A favourite composer or opera?

“I don’t have a specific name. I really love the timbres of voices in general, the tenor range especially. As for preferred works, they would be Carmen by Bizet and Faust by Gounod. Their famous arias remind me of my childhood.”

Why support your opera company?

“First of all, interest in the artists, and the opportunity to rub shoulders with them. They are always passionate and generous in sharing their experience. And the importance of supporting them, not only with a philanthropic contribution, but also through feedback and appreciation for what they do.

In the absence of a large financial contribution to opera companies, I like to offer my support to artists by going to see them, whether in Montréal, Trois-Rivières or Québec City, by way of Haliburton, New York City or Cincinnati.”

“Because of the moral support provided by opera during the sombre and isolated days of COVID. In particular, the Artist Sponsorship Program, which for me is a kind of homage to my father, who was himself a big fan of The Three Tenors, and to my Italian grandfather, who also had a large collection of opera records.