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Rossini
the barber
4 Message from the Director
contents
Fall 2014
of
25 Artists’ Profiles
34 The Barber of Seville Artist Q & A
6 Partners and Sponsors
9 Premiere Circle
37 Edmonton Opera Chorus and Edmonton Symphony Orchestra
11 Director’s Circle
39 Rob Hood Fund
12 Friends of Edmonton Opera
43 Gifts of shares to Edmonton Opera
15 Endowment Fund
17 Composer Bio
Cast and Production Credits
18 Synopsis
20 Program Notes
Administration Office: 15230-128 Ave., Edmonton, AB T5V 1A8 Ph: 780-424-4040 Fax: 780-429-0600 Email: info@edmontonopera.com www.edmontonopera.com
44 Duchess Bake Shop cookbook preview
47 Becoming a billet
51 Edmonton Opera Board
and Staff
54 Upcoming Events
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Message from
the director
I went to see a play the other night. It was a wonderful play (Our Country’s Good) about the transformative power of theatre. In it we watched a group of desperate convicts putting on a play in the wilds of 18th-century Australia. Speaking the words of an elegant bourgeois writer changed the convicts to their very souls, and the result of that action was to change all of us in the audience as well. Those of us fortunate to work with words, music and images in the theatre see this power at work every day. Sometimes we present stories about the transformative effects of love, or of loss and remorse, or sometimes they are simple, age-old stories created to amuse and entertain. Sometimes the most frothy, lighthearted comedies are the ones that stay with us for a lifetime. So it is with the endearing and enduring music in The Barber of Seville. I was delighted to be asked to direct this wonderful opera because I have always responded with exhilaration and joy whenever I have worked on this piece. The music can’t help but lift your spirits and give you a revitalizing high.
Pens. Ink. Refills. Service.
4 THE BARBER OF SEVILLE
The play on which the opera is based has a starry pedigree. Beaumarchais wrote Le barbier de Séville in 1773, first introducing us to the characters who were to captivate us even more thoroughly in Mozart’s Le nozze di Figaro. The characters are all based on Il Dottore, Harlequin, and the lovers and the deceivers of commedia dell’arte. The brilliance of Rossini’s Barbiere is to combine farce, burlesque, satire and irony with real human emotion and pathos. This is where the heart of commedia lies. And this is where this terrific opera excels. I write this after our first day of rehearsal, where the cast has met for the first time. It is a young, luminous and incredibly keen cast of Canadian singers from distant parts of the country. Within minutes old friendships are rekindled, new ones form, and they come together in making music. Again the transformative effects of the theatre magically occur. I was most grateful to be asked to helm this funny and inventive adaptation of the story. The setting is moved forward to the 1940s, and into a Seville movie studio. Hijinks ensue … – Allison Grant
PARTNERS and SPONSORS SEASON SPONSORS
Production Sponsors the barber of seville
the magic flute
Lucia di Lammermoor
Francis Price & Marguerite Trussler
Shelley & Guy Scott Family Foundation opening night sponsor
opening night sponsor
Jim & Sharon Brown Education Dress Rehearsal Sponsor
Emerging Artist Sponsors
Supertitles SponsorS
The Barber of Seville
The Magic Flute
Gold Partners
6 THE BARBER OF SEVILLE
SPONSORS
media Supporters
Official Supporters
Suggitt PUBLISHERS
Thank you to Don’s Piano for generously supplying the onstage piano prop for The Barber of Seville. Thank you to Daryl Zubko at Cine Audio Visual for the vintage lighting and camera. The Edmonton Opera gratefully acknowledges the Kucey Dental Group, who offers complimentary dental services for EO artists, Suggitt and Dr. Mat Rose, who offers medical services for EO artists. PUBLISHERS
2014 GOLF CLASSIC SPONSORS Thank you to all businesses and individuals who participated in another successful golf tournament.
Title Sponsor PCL Cart Sponsor Hemisphere Engineering Million Dollar Hole-in-One Sponsor Playhouse Publications Ltd. Banquet Sponsor Angus Watt Advisory Group
Hole Sponsors Arpi’s North Inc. Big Rock Brewery Canada ICI Canadian Western Bank Dialog HSBC Bank Canada Jack & Esther Ondrack Kellerdenali Northern Alberta Jubilee Auditorium The Press Gallery Sleeman Brewery Ltd. Stantec Witten LLP Yelp
Media Sponsor The Edmonton Journal Print Sponsor Rayacom Print & Design Food Sponsors Century Hospitality Group New Asian Village Rosso Pizzeria Swiss 2 Go
Edmonton Opera is grateful for the support of these sponsors, suppliers and media partners. For more information about supporting the Edmonton Opera, please call 780.392.8719 or email development@edmontonopera.com.
THE BARBER OF SEVILLE 7
Creekwood hopes you enjoy the master comedy The Barber of Seville
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quiet | calm | convenient A SW community south of Ellerslie Rd. at 141 St.
Premiere Circle Creating sustainability The Premiere Circle began in August 2014, spearheaded by the Edmonton Opera board of directors, to create a sustainability fund to both supplement operations and create long-term working capital for the Edmonton Opera.
The objective of the Premiere Circle is to seek the support of dedicated individuals and corporations who will commit to $10,000 a year for five years to create this sustainability fund. Our target by the end of the 2014/15 season is to have 100 Premiere Circle members. Since August 2014, the Premiere Circle has received support from the following individuals. Edmonton Opera continues to be a part of the cultural fabric in Edmonton, engaging the community in innovative ways. For more information or to subscribe to the Premiere Circle, please contact Gwen Horvath, Premiere Circle Concierge, at gwen.horvath@edmontonopera.com or 780.392.7837.
Monica & Jim Allen Robert & Michelle Bessette* Jim & Sharon Brown* Bruce & Tamara Buckwold John Cameron* Drs. Carol & David Cass Clark Builders Richard S. Cook John & Judy Cosco Laurence Jewell Dianne Kipnes Irving Kipnes* Ledcor Group of Companies Ashif & Zainul Mawji* Season SponsorS $250,000 Rob Hood Fund Dianne & Irving Kipnes Foundation Creekwood The Barber of Seville Production Sponsor $150,000 Francis Price & Marguerite Trussler The Magic FlutE Production Sponsor $150,000 Creekwood
Phil Milroy & Jane Russell Dr. Thomas & Melanie Nakatsui* Francis Price* Marguerite Trussler Bernie Robitaille* Arnold & Grace Rumbold Shelley & Guy Scott Family Foundation Standard General Construction Angus & Heather Watt Wheaton Family Foundation Bill Winter Paulette Winter Glenn & Sandra Woolsey
* Founding Members
The lucia di lammermoor Production Sponsor $150,000 Shelley & Guy Scott Family Foundation Visionaries & Evening sponsors $50,000 Jim & Sharon Brown The Magic Flute opening night sponsors John & Judy Cosco Shelley & Guy Scott Family Foundation
THE BARBER OF SEVILLE 9
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The Director’s Circle recognizes those patrons whose significant financial support and ongoing commitment enable Edmonton Opera to continue to produce award-winning and compelling art in our community. Bravo and thank you! For more information about the Director’s Circle or to become a member, please call the donor services line at 780.392.8719.
MaestroS $20,000+ Sarah McLachlan Foundation $15,000+ Andy & Marianne Elder $10,000+ Arrow Engineering Russell M. & Marjorie Purdy York Realty Inc. LEADERS $7,000+ Jack & Esther Ondrack $6,000+ Larry & Ellen Eberlein Frederic & Alma Gojmerac Mark & Nancy Heule Jeffrey Jansen Alan Rose & Judy Schroder Ed Wiebe & Marcia Johnson $5,000+ David Berman Dennis & Doreen Erker Steel-Craft Door Prod. Ltd TD Canada Trust
PATRONS $4,000+ Chris & Vivian Varvis $3,000+ Branko & Jasna Calic Fath Group/O’Hanlon Paving Dr. Christine Kyriakides Steven & Day LePoole Bertrand Malo Arliss Miller Eira Spaner BenefactorS $1,750-$2,999 Tricia Abbott Justice Darlene Acton Pauline Alakija & Paolo Raggi James Archibald & Heidi Christoph Rhonda Baker Douglas K. Bingham & Sheila Janki-Bingham Cheryl & Gary Bosgoed David & Patricia Cassie Dr. Mary Chisholm Marian Clarke Elaine Coachman Joseph & Pat Fernando Hans & Susanne Forbrich Peter & Astrid Griep
Linda Hamilton Dr. Karen & Pam Hofmann Holt Renfrew Brian Kucey & Elena Hernandez-Kucey Joan Lopatka & Bill Rutledge Hilliard & Nancy Macbeth Stephen & Lynn Mandel Laurel McKay Tracy Dawn Czuy McKinnon Rod & Heleen McLeod Michael & Mariette Meier Ken & Gerda Miller Neil & Susan Miller Risha Milo Kyle & Colleen Murray John Oberg Eleanor Olszewski Aline Pratch Dr. Leonard Ratzlaff James E. & Vivian Redmond Tulane Rollingher Margaret Slate | Slate Personnel Katie Soles David Steer & Larissa Whiting Harold Veale Peter & Joyce Walton Wawanesa Dr. P.J. White & Patty Whiting Robert A. Wilson Paola Zanuttini Gerhard & Inge Zmatlo
THE BARBER OF SEVILLE 11
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Robert Balfour Michael Boire Lorraine Bray Greg Christenson Sandi Ann Darrell John & Ann Dea Stephen Dougans Dolores Eaton Donald S. Ethell Felesky Flynn Brent Fillmore Jim & Shirley Funk Bill Grace Todd Grundy A.R. Grynoch & P.V. Sing Gabor Gyenes & Erika Mullner Bruce Hagstrom Simon Laroche Alan Mather & Helgard Proft-Mather Bob McNally Dr. Keith & Brenda McNicol Microsoft Fred & Helen Otto Pals Geomatics Corp Qualico Stella Varvis & Paul Grossman Ralph James Wood Ralph Young
Denis & Ruth McGettigan Les Moss William Pechtel Dr. George & Teresa Pemberton Fay Plomp Marshall Sadd Kathryn Sandilands Michael & Nance Smith Brian & Dawn Vaasjo Frank Van Veen Knut Vik & Frank Calder
CONTRIBUTORS ($250-$499)
Brian Baker Jayson Barclay Armand & Lucie Baril Walter & Stella Baydala Mareena Bobey Colleen Brennan Jennifer Brown Janet Carle Iris Diduck-Rudnisky Len Dolgoy Sophie Drolet Dwayne Dufva Jim & Bonnie Ebbels M A Ferguson-Pell Kevin Foster Terry Freeman John Greer Ross Haffie SUPPORTERS Paul Hobern ($500-$999) Martin Hodgson John Adria Doug Horner Tom & Sandy Allison Dr. Jiri Hrazdil Prof. Corp. Derek Alty Nathan Isbister Andree Aston Christopher Jack Joan Bensted Marcel Jakob Bob Bowhay Pavel & Sylva Jelen Craig & Naomi Corbett Shafin Kanji Bernie Corry Louis & Marcelle Desrochers Taras J Keyko David & Sandra Kraatz Ivan & Ksenia Fedyna Shawn & Jane Kubiski Fiona Fjeldheim Libuse Kuzel Bill Gielbelhaus Richard J Lain Robert & Diane Gomes Franklin C Loehde Doug Goss Kelly MacFarlane & Dave Hancock Christopher Mackay Alice Harrison Francesco Mannarino Andrew Hladyshevsky Paul & Lori Martens Rob Jolley Linda Medland-Davis John Karvellas Tereena Morelli Paul Leonard Kevin & Robin Mott Neil & Jean Lund Greg & Patrece Maluzynsky Sally & Barry Munro Alfred Nikolai Devon J Mark & Dr. Edward & Geri Papp Allen Vander Well C.H. Parks David McCalla
Donations made in memory of Dr. David Cook: Dr. Grace Bokenfohr Donations made in memory of Howard Irving: Kathryn Buchanan John Karvellas J.E. Cote Justice Andrea Moen Joseph & Pat Fernando Alec & Irene Murray Richard Fraser Francis Price & Marguerite Trussler Larry Judge 12 THE BARBER OF SEVILLE
of Roger & Carol Cohen Marta Collier Connect Homes Carole M. Conrad J. E. Cote Judy Coulombe Dr. Diane Cox Robin Crane Brenda Dale Mike & Marnie Davis James & Gail DeFelice Roger Delbaere Darrell Demchuk Kathy Demuth Frank W. Deys Dr. R.J. & Janet Dmytruk James C. Dobie Frank & Muriel Dunnigan Tim Eckert Edmonton Japanese Community Association Martin & Jacqueline Elton Tom & Heather Etsell Leanne Eyo Werner Fenske Lois Field Karin Fodor Vanessa Gardner MEMBERS Phil Gaudreault ($100-$249) Brent Gelland J Lynn Adams Gordon & Colleen George Scott & Alma Allen Allan & Krista Gilliland Barbara Allen F.S. & Margaret Golberg Dr. David Atkinson Jon & Heather Goor Nancy Aust Sherry Gourdry Halfdan Baadsgaard Crystal Graham Jocelyn Bahrey Charles & Ann Grant Raymond & Roberta Baril June Greig Vicki Barrow Brenda Gross William Bartelds Ulf-Hilmar Hahn Mike & Tracy Bateman Matthew Haley Heidi Benoit John Hampson Geraldine Bidulock Jonathon Hancock Marc R Bisson Dr. T. Hayashi Wesley Boe R. & Barbara Henderson Linda Bogdan Jeremy & Elizabeth Herbert Dr. Grace Bokenfohr Kevin Heselton Scott & Juanita Brattly Ty & Tayne Hewer Aaron Breitkreuz Judith Hibberd John Edmond Brick Kris Hildebrand Joanne Burek & Lee Stickles Leroy & Barb Hiller Johnathan & John-Paul Himka Charles W. Calvert Curtis Hollister Stephen & Carolyn Campbell Donna A. Holowaychuk Ken & Denise Cantor Karla Horcica Maurizio Capano Stuart Houston Donald Chisholm Mike Hruska Chung Chu Bonny Hubert Janet M. Clark Dr. Sheila L. Hughes Jason Portas Marc Prefontaine Lisa Redmond Scott Reed David Rees & Linda Miller Michael Roma Carolynne E. Ross John M. Ross Jesse Rudge Generoso Russo Edmund & Orla Ryan Alison Seymour R. & W. Sherbaniuk Doug & Devika Short Gerry & Barbara Sinn Bill & Marlene Smith Campbell & Rosalind Sydie Dave Tarkowski Michelle Taylor Mike Tighe & Rachel Mandel Andrew & Kirsty Wallace Joan Welch Terry Whittingham Brian & Joanne Wong Tim Yakimec Mark Zutz Wade Zwicker
Bonnie Hutchinson Erik & Franziska Jacobsen Susan Jaksich Christian Jonean Alan Jones Larry Judge Alison Kabaroff Ken Keenleyside Rene & Anna Kiens John Kim Debra King Shirley Kirkpatrick Andrew Paul Kowalchyk Dr. Elizabeth Krause Greg Krischke J. Allen Kucay Lorraine & Stan Kucey John Kuzyk Jean Langley & Tim Winton Mark LaRue Jack & Diane Latham Colleen Lathan Patricia Marie Lavender David & Leslie Leeworthy Karen Leibovici & Stephen Zepp Steven Lenarduzzi Colin & Jennifer Linton John Little Stuart Loe Doug & Joan Longley David Lynch Richard & Jean Lyne Lowell & Donna Lyseng Brenda MacDonald Ian B. MacDonald Jessica MacDonald Hana Marinkovic Joan H Marshall Jacob & Odette Masliyah John & Cathleen Matthews Jason Maurer Dwain & Monique May Karen Mazurek Nicole Merrifield Zoltain & Brigitte Meszoly Ronald & Carole Middleton Janet Millar Paul Monson Renn Moodley Sheila Steinhauer-Mozejko Alec & Irene Murray Tina Naqvi-Roth Ole & Marilyn Nielsen Michael O’Dell Anthony Olivares Wade O’Neill Aaron & Jean Oshry Hanne Ostergaard
Donations made in honour of Dianne & Irving Kipnes: Jocelyn Bahrey Joseph & Pat Fernando David Berman Crystal Graham Geraldine Bidulock Taras J. Keyko Jim & Sharon Brown Karen Leibovici & Stephen Zepp Stephan & Carolyn Campbell Steven & Day LePoole Ken & Denise Cantor Shauna Miller & James Gillespie Craig & Naomi Corbett David & Pam Margolus Len Dolgoy & Catherine Miller Jacob & Odette Masliyah
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Francis Price & Marguerite Trussler Ron & Carol Ritch Shelley & Guy Scott Family Foundation Marshall & Debby Shoctor Marv & Donna Weisler Bill & Paulette Winter
Thank you to those who have previously donated in memory of Kimberly Heard, Dr. Robert J. Buck, Dr. Lee Anholt, Dr. John Martin, Norah McKillop and Ernie LeMessurier.
Sincere thanks go to the following individuals who, through their gifts, have demonstrated their belief in making opera a vital part of our cultural community. To donate or for additional information, phone the donor services line at 780.392.8719 or email individual.giving@edmontonopera.com. Only 2014/15 season donations and/or pledges processed up to Sept. 16, 2014, are listed. Every effort has been made to ensure the accuracy of our donor information. If we have made an error or omission, please call the donor services line at 780.392.8719. We apologize for any inconvenience. Although space limitations allow us to list only charitable contributions of $100 or more, we gratefully acknowledge all donations. Each gift, regardless of size, helps to make Edmonton Opera performances possible. Thank you!
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Edmonton Opera’s Director’s Circle (donations of $1,750 or more) is our way of providing special recognition to our generous individual donors for their outstanding and sustained annual support. Director’s Circle members enjoy a number of exclusive opportunities throughout the season, to enhance their overall operatic experience. Please contact Mickey Melnyk, Stewardship Officer, at mickey.melnyk@edmontonopera.com or 780.392.7819 for more information about becoming a DC member. The Premiere Circle is comprised of dedicated individuals and corporations who have committed to a five-year, $10,000-per-year contribution, ensuring the sustainable future of Edmonton Opera. For more information about Premiere Circle experiences and commitments, please contact Gwen Horvath, Fund Development Manager, at gwen.horvath@edmontonopera.com or 780.392.7837.
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Aria Legacy Help Edmonton Opera Sing Forever Edmonton Opera creates award-winning and compelling art, and strives to keep that art accessible for the Edmonton community. Aria Legacy is your opportunity to share that dream in a focused and personal way, with a gift to our endowment program that will last into perpetuity. Endowment gifts of any size are appreciated. For more information on how you can help sustain Edmonton Opera for generations to come, please call the donor services line at 780.392.8719.
Edmonton Opera
ENDOWMENT FUNDS Edmonton Opera’s Endowment Funds: Sam & Sonia Azer Family Fund Frederic & Alma Gojmerac Family Fund Canada Cultural Investment Fund Edmonton Opera Staff Contributions Fund Edmonton Opera Endowment Fund Irving Guttman Opera Endowment Fund The Dianne and Irving Kipnes Opera Fund John and Barbara Poole Family Fund Francis Price and Marguerite Trussler Family Fund Dwight Purdy Memorial Fund David Cook Fund for Edmonton Opera Oline and Roderick Markine Family Fund Arnold & Grace Rumbold Fund Cecilia Fund In Memory of Howard Irving: J.E. Cote Richard Fraser Larry Judge John Karvellas Alec & Irene Murray Francis Price & Marguerite Trussler
Edmonton Opera applauds the following visionaries for contributing to or establishing a legacy of support for the future of opera in our community. Many of these contributions have been matched by the Canada Cultural Investment Fund. Thank you. Endowment Donors & Aria Legacy Members John Adria Tricia Abbott Justice Darlene Acton Peter & Barbara Allen Rebecca Anderson Sam & Sonia Azer Alan and Alice Bell Robert Bessette Jelena Bojic Dr. Grace Bokenfohr Katherine Braun Erin Clyde Richard S. Cook Glenda Dennis Maggie Dower Marianne & Andy Elder Ivan & Ksenia Fedyna Laura Fitzgerald
Karin Fodor Sandra Gajic Fred & Alma Gojmerac Karen Good Jennifer Hinnell Andy Hladyshevsky John & Susan Hokanson Dorothy & Douglas Hollands Gwen Horvath W.H. Hurlburt Jeffrey Jansen Laurence Jewell Ha Neul Kim Debra King Betty Kolodziej Juri and Helle Kraav Tara-Lee LaRose
Franklin C. Loehde Brenda MacDonald Amanda MacRae Cameron MacRae Bertrand Malo Stephen & Lynn Mandel Devon J. Mark & Allen Vander Well Roderick & Oline Markine Peggy Marko Alan Mather & Helgard Proft-Mather Julian Mayne Jeff McAlpine Jeff McCune Rod & Heleen McLeod Bob & Bev McNally Mickey Melnyk
Arliss Miller Kyle & Colleen Murray Wesley M. Pedruski Barbara Poole Clarence & Elizabeth Preitz Francis Price Protostatix Engineering Consultants Russell & Marjorie Purdy Reynolds Mirth Richards & Farmer LLP Robert & Asha Rock Clayton Rodney & Raymond Cameron Analee Roman Hilary & Robert Rose Arnold & Grace Rumbold
Kelly Sheard Katie Soles Michael Spassov Darren Staten Catherine Szabo Lauren Tenney Karen Trace Marguerite Trussler Chris & Vivian Varvis Stella Varvis Angus Watt Joan Welch Adrienne E. Wong Tim Yakimec Serene Yau Stacy Young Gerhard & Inge Zmatlo
Additional financial contributions from members of the Edmonton Opera Chorus. A generous endowment gift has been made by the Edmonton Opera Guild in honour of the Edmonton Opera Chorus. THE BARBER OF SEVILLE 15
Composer
BIOGRAPHY Gioachino Rossini Not only does Gioachino Rossini’s name live on through his compositions, but in dishes such as Tournedos Rossini, a French steak dish that was named after the amateur chef. Born Feb. 29, 1792, in Pesaro, Italy, Rossini grew up in a musical family — his father was a horn player and sometimes professor at the Accademia Filharmonica, while his mother actively pursued her operatic career when her husband was jailed for his political convictions. Rossini did not continue to compose until the end of his life, however, instead choosing to live out his last 39 years as a gourmand, raconteur, voice teacher and chef. Over the course of his lifetime, he wrote nearly 40 operas, as well as sacred music, chamber music and cantatas. His composing years span both the classical era (1750-1810) and the Romantic period (1815 1910), trends which are reflected in his early and later compositions. At the age of 14, he was accepted into the Accademia Filharmonica, where he proved to be a good accompanist and repetiteur. It was at the accademia that he met two influential singers: Velluti, a castrato and symbolic of the old traditions of opera, and Isabella Colbran, a soprano who would become his wife. After she died in 1845, Rossini married Olympia Pelissier in 1846. His work is considered a bridge between the old guard of opera and paving the way for composers such as Wagner, Verdi and Meyerbeer. Rossini thoroughly enjoyed Mozart’s work, so much so as to earn the nickname “the Italian Mozart,” but did not think much of Wagner (a feeling that was mutual, although Wagner was apparently quite impressed by Rossini’s last opera, Guillaume Tell). Rossini left the Accademia Filharmonica early, and accepted work at the Teatro San Moise à Venice, where he wrote four farse (low-budget, chorus-less, 80-minute operas). This exercise allowed him to develop an effective, action-packed structure for his full-length comedies. He was also one of the first composers to write out ornamentation, since bel canto singers were known to take liberties and would otherwise render the piece an entirely different composition with their interpretation. Although his first two-act opera caused some problems with the censor, Rossini soon became a successful composer in Milan, earning military deferment and name recognition. He was especially prolific after signing a contract with Teatro San Carlo, when he produced 18 operas in seven years. He was soon receiving offers from all over Europe and chose to settle in Paris — a city he loved, with exposure to music from all over the continent and the ability to train some of the finest singers of the day. Eventually, he was replaced by Verdi and Puccini, although his work was re-popularized in the mid- and late-20th century. Rossini died at the age of 76, in Paris, France. He left money to his hometown of Pesaro, and a music conservatory was built there, dedicated to the Italian composer.
Edmonton Opera presents
the of
barber seville
October 25, 28 & 30, 2014 Production sponsored by Francis Price & Marguerite Trussler Music by Gioachino Rossini Libretto by Cesare Sterbini Premiere: Feb. 20, 1816 Conductor Director
Robert Dean Allison Grant
The Cast Fiorello/Sergeant Almaviva Figaro Rosina Bartolo Berta Ambrogio Basilio
Aaron Durand James McLennan Phillip Addis Sylvia Szadovszki Alexandre Sylvestre Cara Brown Nick Horobec* Thomas Goerz
*non-equity member
with members of the Edmonton Opera Chorus and the Edmonton Symphony Orchestra Lighting Designer Scenery Designer Costume Designer Chorusmaster Repetiteur Stage Manager Assistant Stage Manager Assistant Stage Manager Apprentice Assistant Stage Manager
Geoff George Allan Stichbury Parvin Mirhady Peter Dala Leanne Regehr Ha Neul Kim Anna Davidson Amy DeFelice Cayley Hanson
Original supertitles composition by Edmonton Opera, with additions by Allison Grant. Production originally designed for and created by the Vancouver Opera. There will be one 20-minute intermission between Acts 1 and 2. The performance is approximately 2 hours and 40 minutes, including intermission. Edmonton Opera is a professional company operating within the jurisdiction of the Canadian Actors’ Equity Association. Edmonton Opera is a member of the Professional Opera Companies of Canada and Opera America.
THE BARBER OF SEVILLE 17
SYNOPSIS
Courtesy Vancouver Opera
Act 1 – Scene 1 In a movie studio in 1940s Seville, Count Almaviva serenades starlet Rosina with the help of a chorus of movie extras. When there is no response from Rosina’s dressing room, he sends the movie extras on their way. Figaro, the studio hairstylist, approaches. Almaviva tells Figaro of his obsession with Rosina and Figaro reveals that Rosina’s agent, the hated-yetpowerful studio owner Bartolo, schemes to marry Rosina himself in order to get his hands on her wealth. Almaviva resumes his serenade. Using a costume from the movie studio, he tells Rosina he is a poor student named Lindoro. Rosina, immediately smitten, sneaks out of her dressing room and declares her devotion to “Lindoro” before her guard pulls her back inside. Figaro suggests that Almaviva now disguise himself as a drunken soldier in order to gain admittance to the dressing room.
Act 1 – Scene 2 In Rosina’s dressing room, Figaro helps her dress for her next scene in the movie, then hides when he hears Bartolo approaching. Rosina’s music coach, Basilio, arrives and informs Bartolo that Almaviva is looking for Rosina. Basilio, who is also one of the paparazzi, suggests a campaign of slander against Almaviva. Bartolo asks for a marriage contract to be drawn up between him and Rosina immediately. After shooting her scene, Rosina returns to her dressing room, where Figaro encourages her to write a note to “Lindoro.” In his
drunken soldier disguise, Almaviva gains access to the dressing room, where he whispers to Rosina that he is actually Lindoro. Bartolo and Basilio attempt to get rid of him but he refuses to leave and slips Rosina a letter, which she surreptitiously replaces with a laundry list. The extras appear from the soundstage and pandemonium ensues. Almaviva finally leaves amidst the confusion.
Act 2 Bartolo is on the set. Almaviva approaches, this time disguised as a music teacher called in to replace the sick Basilio. He soon gains the trust of Bartolo as Figaro watches the plan unfold. Figaro steps in to give Bartolo a shave and steals a key that will enable Almaviva and Rosina to escape. Basilio appears unexpectedly but Almaviva bribes him into playing along with the plot. Even so, Bartolo is suspicious and attempts to rush his marriage to Rosina by sending Basilio to find a notary. Bartolo then persuades Rosina that the student Lindoro has actually been working for Almaviva. Confused and upset, Rosina declares she will elope with Lindoro that night. Almaviva and Figaro break in through the rooftop of the studio. Almaviva confronts Rosina and reveals his true identity, proclaiming his love for her. Basilio returns with the notary, but after more bribery agrees to witness Rosina’s marriage to Almaviva. Bartolo, initially furious, calms down when Almaviva offers him Rosina’s dowry. Happiness abounds at the end of the day.
Those attending the Thursday night production are invited to take home one of the potted plants courtesy of Hole’s Greenhouses, in exchange for a donation to the Edmonton Opera. Please visit the Opera Boutique in the main lobby on Thursday if interested.
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PROGRAM NOTES the barber
of
Gioachino Rossini (1792-1868) Rossini was famous for the speed with which he wrote his operas, but even he must have had a qualm or two when, on Dec. 26, 1815, he signed a contract with the Teatro Argentina in Rome for a new comic opera. For he was required to “deliver the score in the middle of January” — leaving him just three weeks to get a librettist, work out a libretto, and compose the music. He had, though, the confidence of youth. He was still only 23, his reputation established in 1813 with Tancredi, a now little-heard “heroic idyll” that had been a phenomenal success throughout Italy, and which he composed in less than a month. Fourteen of his other operas had already been produced, and his comic genius had been established with two still-popular works, L’italiana in Algeri and Il turco in Italia. We now know from his letters that Rossini regularly thought about operatic subjects for considerably longer than he was prepared to admit publicly, giving him a head start in such breath-taking composing. Nonetheless, he did deliver his new work, The Barber of Seville, on time, though, as was his habit, he borrowed from his earlier operas to speed things along. Those opening chords and little scurrying figures of the overture, for example, that seem so suited to Barber, had actually seen service in two previous Rossini operas, most recently in the unlikely setting of the “dramma per musica” Elisabetta, regina d’Inghilterra the year before. Such compositional speed was also possible because Rossini and his librettist Sterbini had a remarkable play as the basis for their opera: Beaumarchais’ 1775 Le barbier de Séville, originally envisaged as an opera with music by Beaumarchais himself, but which he reworked into a play when the Opéra Comique turned it down. What is more, there was a ready-made libretto to work from, that of Petrosellini for Paisiello’s 1782 opera on the same subject. Paisiello’s opera, premiered in Russia, was firmly established in the contemporary repertoire, even reaching New Orleans in 1801. Indeed, Rossini was somewhat embarrassed at covering the same ground, and pinching essentially the same libretto. He therefore first got Paisiello’s blessing, and then put out disclaimers, saying he revered the older composer, and that his
20 THE BARBER OF SEVILLE
version reflected the changes in musical tastes since the earlier version. For good measure, he called his own opera Almaviva, and it wasn’t until Paisiello’s death, some four months after the premiere of the Rossini version, that Rossini changed the name to the one we are now familiar with today. Rossini’s audience on that opening night, however, were not so amused. They knew and loved the Paisiello, and the performance was nothing less than a fiasco. The Teatro Argentina’s impresario had died two weeks earlier. The leading tenor, singing a song of his own to his own guitar playing, broke a guitar string before he even started. One of the main characters fell over a trap door and spent the rest of the performance with a blood-soaked handkerchief pressed to his nose. Most entertaining of all, a cat accidently got on stage in the Act I finale and had to be chased around and then off. The audience took all this as a heaven-sent opportunity for jeering and hissing. Whatever they thought, and effective though the earlier opera is (and worth hunting out in a recording), Paisiello was just a good composer, and Rossini was a genius. So was Beaumarchais, and the story is the first in his Figaro trilogy, followed by The Marriage of Figaro, which Mozart had set with such success in 1786, and finally La Mère coupable (The Guilty Mother), turned into an opera by Milhaud, among others, and which features in Corigliano’s The Ghosts of Versailles. But whereas The Marriage of Figaro has dark undertones, The Barber of Seville is almost entirely a work of comic delight and bubbling wit. The actual scenario is a very ancient (and simple) one, dating back to Roman comedies, and it has not lost its ability to amuse in spite of its antiquity: the old man who desires to marry the young girl (here his ward), who is thwarted by her paramour (the tenor, of course) and who eventually, however grudgingly, agrees to the match of the young lovers. The secret of such a story is, of course, not in the outcome (we know that from the beginning) but how it gets there. Beaumarchais’ brilliant invention, among the familiar stock characters, is the figure of the general factotum, Figaro. His genius is to so perfectly pace the events. Such a play was entirely suited to Rossini’s style, his energy and verve, and his ability to explode into a set number — in his wildest imaginations Paisiello
by Mark Morris could not have conceived anything so compelling as “Largo al factotum.” The level of theatrical comedy exactly matches the level of Rossini’s musical tone and depth. Such genius could not long be suppressed, and the second night of Barber was one of the most famous in operatic history. Rossini was reputedly fast asleep in his lodgings (as he had refused to conduct the performance after the fiasco of the opening, though he was contracted to do so). He was awoken by the sound of a mob, and, thinking it was more Paisiello supporters, he went and
hid in the stables. In fact, the performance had been a triumph, and the crowd had come to laud him. Rossini later claimed that he refused to come out and see them, and sent his own factotum out to so inform the crowd. The faithful Garcia was hit by an orange thrown by one of the frustrated opera-lovers, and, in Rossini’s words, had “a black eye for several days” afterwards. Real life meets opera, or vice versa, but from that day Il barbiere di Siviglia was firmly established not only as a great comic opera, but also, in words of Verdi, no less, as “the most beautiful opera buffa in existence.”
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Artists’
PROFILES Robert Dean
Aaron Durand
Conductor
Fiorello/Sergeant | baritone
Robert Dean made his Canadian debut in 1993 with a new production of The Pearl Fishers for Edmonton Opera. This was followed by a highly acclaimed La Cenerentola (recorded by CBC), Die Fledermaus, Abduction from the Seraglio, Lakme and John Estacio’s Filumena (also filmed for Canadian TV). Most recent performances include La fille du régiment, La Bohème, Don Giovanni, La scala di seta and Il signor Bruschino (UK). He has also had a long association with Calgary Opera where he has recently conducted Lucia di Lammermoor, Falstaff and Der fliegende Holländer.
An enthusiastic, often over-caffeinated baritone hailing from 100 Mile House, Aaron began vocal training at age nine, but knew nothing of opera until a chance viewing of Carmen. Consumed by the wonderful music, Aaron went on to complete a M.Mus at UBC, majoring in opera performance. In 2012, he joined Vancouver Opera’s Yulanda M. Faris Young Artists Program, performing roles in several mainstage productions, including La Bohème, Albert Herring and Don Giovanni. Most recently, he was seen as Le Dancaire in VO’s Carmen.
Performance of Robert Dean sponsored by Christenson Developments
James McLennan Almaviva | tenor
Allison Grant Director
Allison Grant recently directed and choreographed Die Fledermaus for Edmonton Opera, as well as an acclaimed production of Roméo et Juliette for Vancouver Opera. In past seasons she choreographed and performed in The Great Gatsby at Theatre London and directed Giulio Cesare (Halifax Opera Festival), The Auction (world premiere Westben Festival), Die Zauberflöte (Sarasota Opera), Don Giovanni and Carmen (Opera Ontario), Così fan tutte (Vancouver Opera), L’italiana in Algeri (l’Opéra de Montréal) and A Meeting of Minds (Canadian Stage). She has directed or choreographed many revival productions at the Canadian Opera Company and has also directed the COC Ensemble. Upcoming: Le nozze di Figaro (Sarasota Opera), Il barbiere di Siviglia (COC) and the revival of Semele at the Brooklyn Academy of Music.
James McLennan has appeared in over 25 roles on opera stages across Canada. An alumnus of Toronto’s famed Second City Training Centre, he debuted with Edmonton Opera as Triquet in Eugene Onegin in 2013. Recent and upcoming opera credits include Brighella in Ariadne auf Naxos and Goro in Madama Butterfly (Pacific Opera Victoria), Beppe in Pagliacci (Hamilton Opera), Spoletta in Tosca (Opera Lyra Ottawa) and Dr. Caïus in Falstaff (l’Opéra de Montréal). Concert highlights include Bach’s St. John Passion and Magnificat (Grand Philharmonic Choir), Haydn’s Creation and John Tavener’s Requiem (Winnipeg Symphony Orchestra), Israel in Egypt (Toronto Mendelssohn Choir) and Carmina Burana (Prince George Symphony).
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Artists’
PROFILES Phillip Addis
Cara Brown
Figaro | baritone
Berta | soprano
A rising star on the international stage, Canadian baritone Phillip Addis is praised for his creamy, bright voice and spell-binding yet sensitive interpretations in opera, concerts and recitals throughout Canada, the United States, Europe and Japan. Recent engagements featured Phillip’s debut at the Canadian Opera Company, appearances at the Los Angeles Opera, and a return to Paris’ Opéra Comique, where he performed his acclaimed role of Pelléas in Pelléas et Mélisande. Other recent engagements include performances with Pacific Opera Victoria, the Cincinnati Opera, Teatro dell’Opera in Rome, the Paris Opera, the Festival de Lanaudière and a debut at the London Proms.
Sylvia Szadovszki
Soprano Cara Brown is recognized for her openness and clarity of tone. She has performed Despina in a concert version of Così fan tutte with The Opera Project and Micaëla in Carmen with both Calgary Concert Opera and Vancouver Island Opera. Cara portrayed Nedda in Mercury Opera’s production of Pagliacci and Contessa in Le nozze di Figaro in Rome, Italy. Her most recent appearance with Edmonton Opera was in the role of High Priestess in Aida. Cara has also appeared as a featured guest performer with Vancouver Island Opera, Red Deer Symphony, Calgary Concert Opera Company and Edmonton Youth Orchestra. Cara also teaches private voice and is a sought-after clinician and adjudicator.
Alexandre Sylvestre
Rosina | mezzo-soprano
Bartolo | bass-baritone
Most recently, Sylvia sang the role of Nancy in Albert Herring (Vancouver Opera). She was a member of the Yulanda M. Faris Young Artists Program at Vancouver Opera during their 2012/13 season, singing Papagena in The Magic Flute and Kate in The Pirates of Penzance. Sylvia made her Canadian debut with Pacific Opera Victoria (Mercedes in Carmen) and her German debut with Theater Hof (Rosina in Der Barbier von Sevilla) in 2012. She was a Northwest Region Finalist at the Metropolitan Opera National Council Auditions in both 2011 and 2012. Sylvia has performed with the Vancouver Symphony Orchestra, Early Music Vancouver, Victoria Symphony, Vancouver Metropolitan Orchestra and the Northern Czech Philharmonic.
A native of Québec, Alexandre Sylvestre studied at the Conservatoire de musique de Montréal and is an alumnus of Atelier Lyrique de l’Opéra de Montreal. He has appeared across Canada in such roles as Schaunard and Colline (La Bohème), Haly (L’italiana in Algeri), Bartolo (Le nozze di Figaro), Angelotti (Tosca) and Frank (Die Fledermaus) with companies including l’Opéra de Montréal, l’Opéra de Québec, Pacific Opera Victoria, Edmonton Opera and Calgary Opera. On the concert stage he has been featured by l’Orchestre symphonique de Montréal, Festival de Lanaudière, Les Violons du Roy and l’Orchestre Metropolitain. His future holds Brahms’ Requiem for Symphony Nova Scotia, Silent Night for l’Opéra de Montréal and Beethoven’s Symphony No. 9 for the Sherbrooke Symphony.
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Artists’
PROFILES Thomas Goerz
Peter Dala
Basilio | bass-baritone
Chorusmaster
Thomas Goerz has firmly established himself as one of the country’s most respected singing actors. Edmonton audiences have seen him as Rocco (Fidelio), Pooh Bah (The Mikado) and Basilio (The Barber of Seville). He recently sang Dr. Bartolo (The Marriage of Figaro), with both Vancouver Opera and Pacific Opera Victoria. Thomas is also a veteran of the Canadian Opera Company, Cincinnati Opera, the Metropolitan Opera (Sulpice understudy), the Wexford Festival in Ireland and Central City Opera in Colorado. This season Thomas will be heard as Zuniga in Carmen with Vancouver Opera and Father Palmer in the new opera Silent Night with l’Opéra de Montréal.
Peter Dala began his conducting career 30 years ago with the Basel Ballet and guest conducted for the Zurich Ballet. He conducted for seven years at the Hungarian State Opera and the National Ballet of Hungary. As Edmonton Opera’s chorusmaster from 1996 to 2012 and resident conductor from 2001 to 2012, he prepared the chorus for some 40 operas, has played over 50 operas as repetiteur and has conducted over 30 operas. In 2001 he began his affiliation with Alberta Ballet and was named music director in 2005. He has conducted over 40 different productions for them. Upcoming: Alberta Ballet’s The Three Musketeers and the University of Alberta drama department’s The Three Penny Opera.
Geoff George
Leanne Regehr
Geoff is pleased to be returning to the Edmonton Opera. His work has been seen on this stage for Pirates of Penzance, La Bohème, The Mikado and Eugene Onegin. Beginning his career as a lighting technician at the Shaw Festival and working mainly as a lighting designer, Geoff has designed over 200 productions for Carousel Players, Theatre New Brunswick, Neptune Theatre, Northern Light Theatre, the Mayfield, Brian Webb Dance, Mile Zero Dance, Kurt Browning, Leave it to Jane Theatre and last, but not least, Grant MacEwan University, where he recently retired as chair of the award-winning theatre production program.
Pianist Leanne Regehr earned a doctor of music degree in piano performance from Northwestern University and is currently based in Edmonton where she serves on the faculties of the University of Alberta and The King’s University. Leanne has been engaged as a repetiteur with Shreveport Opera, Mercury Opera and Edmonton Opera. Her dedication to the development of young singers has been recognized through her work as a faculty member with Opera NUOVA, as a staff pianist for Sherrill Milnes’ VOICExperience Program in Florida, as well as a coaching fellow at the Aspen Music Festival. Leanne enjoys her freelance career as a soloist, vocal coach, recital partner and adjudicator.
Lighting Designer
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MORE GREAT PERFORMANCES THIS SEASON Il Barbiere di Siviglia | Die Meistersinger von Nürnberg The Merry Widow | Les Contes d’Hoffmann | Iolanta/Bluebeard’s Castle La Donna del Lago | Pagliacci/Cavalleria Rusticana
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PROFILES Ha Neul Kim Stage Manager
The 2014/15 season is Ha Neul Kim’s 13th season with Edmonton Opera. A graduate from the University of Alberta with her BFA degree in technical theatre production specializing in stage management, she has been the Edmonton Opera’s stage manager since 2007. She has been the assistant stage manager for many past Edmonton Opera and Manitoba Opera productions, as well as stage managing for the main stage during the Queen’s royal visit, field stage for the opening and closing ceremonies of the 2005 World Masters Games, and has worked in theatres across Canada. She has previously taught opera stage management at the University of Alberta.
Anna Davidson
Assistant Stage Manager Anna is thrilled to be back at the opera this season. Recent Edmonton Opera credits include Madama Butterfly, Die Fledermaus, Salome, Eugene Onegin and The Mikado. She has worked as a stage manager or ASM for the Citadel Theatre, Northern Light Theatre, Shadow Theatre, Workshop West, Theatre Network, Concrete Theatre and L’Uni Theatre. She is a graduate of the theatre production program at MacEwan University and the theatre performance program at Red Deer College. Anna is also a freelance technician and member of IATSE Local 210.
Amy DeFelice
Assistant Stage Manager Previously Amy has worked with the Edmonton Opera on Madama Butterfly and The Abduction from the Seraglio. She has also stage managed for Players De Novo, the Citadel Theatre, One Yellow Rabbit, Nakai Theatre and Shadow Theatre. She has directed The Bear, La serva padrone, Der Schauspieldirecktor, The Telephone and Good Friday for Opera NUOVA and Hansel and Gretel for Opera Buff.
THE BARBER OF SEVILLE 33
the
barber of
Rossini’s stylish comedy When the curtain rises on The Barber of Seville, there’s plenty of madcap action on the Jubilee stage, but in the five weeks leading up to opening night, the work is just as fast-paced. Starting in late September, the artists on stage arrived from across Canada — and, in the case of maestro Robert Dean, England — with their parts prepared and ready to take staging direction from director Allison Grant. Over the course of three performances, Edmonton audiences will become familiar with the stories of Almaviva, Rosina, Bartolo, Basilio and Figaro, along with other characters that they pull into the drama, but what about the stories of the opera singers behind these characters?
Is there a particular part in The Barber of Seville that you’re looking forward to performing? My favourite sections of shows like this tend to be the pivotal moments where a plan is as likely as not to fail. So, in this case, it’s the shaving scene, where Basilio’s reappearance nearly ruins everything, making it a very close shave indeed! – Phillip Addis, Figaro Which character would you love the opportunity to play in an opera? I would love to sing Octavian in Der Rosenkavalier because the music is drop-dead gorgeous. On a completely different note, I would also love to play Carmen. I think that is a dream role for a lot of mezzos. – Sylvia Szadovszki, Rosina I would love to sing the role of Benjamin Britten’s Billy Budd. I used to maintain and sail on Tall Ships as a teenager and I have sung Britten’s music at practically all stages of my life, from his children’s songs to the War Requiem. This story of a tragic dreamer aboard a ship of the line really resonates with me and the music fits my voice like a glove. – Phillip Addis, Figaro Do you have a personal connection with the opera and/or role you are performing with the Edmonton Opera? Bartolo in Barber is one of my favourite roles; a perfect balance of Italian singing and comedy acting. – Alexandre Sylvestre, Bartolo I think every baritone has a connection with Barber. “Largo al factotum” is one of the most iconic pieces of opera, if not all music. And as a child, The Rabbit of Seville was my favourite cartoon. – Aaron Durand, Fiorello/Sergeant 34 THE BARBER OF SEVILLE
Which composer is your favourite, and why? There are so many! Probably Mozart — because not only do I enjoy singing his repertoire, I find his instrumental music comforting and it often makes me smile. – Cara Brown, Berta What is the biggest challenge with being an opera singer? For me, the greatest challenge (and consequently the greatest reward) is the logistics and planning and “extracurricular” work underneath all the performing. These days, a singer is also a publicist, an accountant, a social media manager and many other things. Our job, without a doubt, is a big one. – Aaron Durand, Fiorello/Sergeant What first interested you in opera? I have loved expressing myself through singing since I was five years old and I have always admired people who have the courage to be performing on a stage. I saw my first musical at age eight and knew I wanted to be up on stage someday. The grandeur of the sets, the costumes and the orchestra is what drew me into the opera world. The ability of the human voice to convey so much emotion is what astounds me in opera and keeps me interested. – Sylvia Szadovszki, Rosina Do you have a former career? I actually have a current second career. I have a degree in French translation and I freelance as a translator, specializing in academic writing, public administration and corporate communications. I love working with languages, which is partly why I went into opera, so it’s a great fit. – James McLennan, Almaviva
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chorus and orchestra edmonton opera Chorus Tenors Gavin Belik Eric Epp Taylor Fawcett Matthew Glenn Raimundo Gonzalez Fred Osman Kasujja Robert Rock Daniel Rowley Luc Tellier
Bass/Baritones
Supers
John Adria Ivan Fedyna Cameron Douglas Graham Nick Horobec Walter Hsu Greg Maluzynsky Andrae Marchak Peng Wu John Yun
Natasha Da Fonseca Geoff Hansen Jill Hoogewoonink Adrian Howard Howard Kowalchuk Stephen Noble Christina O’Dell Glynis Price
edmonton symphony orchestra | William Eddins, Music Director Violin 1 Robert Uchida Virginie Gagné Laura Veeze Broderyck Olson Richard Caldwell Joanna Ciapka-Sangster Alissa Cheung Anna Kozak Aiyana Anderson-Howatt Neda Yamach
Violin 2 Dianne New Susan Flook Heather Bergen Zoë Sellers Robert Hryciw Tatiana Warszynski Murray Vaasjo Jim Cockell
Viola
Stefan Jungkind Charles Pilon Clayton Leung Jeannette Comeau Mikiko Kohjitani Andrew Bacon
flute
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Elizabeth Koch Shelley Younge
Christopher Taylor
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Barry Nemish
Lidia Khaner Paul Schieman
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Sheila Laughton Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin Julie Amundsen
Julianne Scott David Quinn
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Jan Urke John Taylor Janice Quinn Rhonda Taft
bassoon
Edith Stacey Diane Persson Gerald Onciul Donald Plumb
trumpet Robin Doyon Frederic Payant
tIMPANI Percussion Brian Jones
Harp Nora Bumanis
Guitar Robert Walsh
Personnel Manager Eric Filpula
Librarian Aaron Hawn
THE BARBER OF SEVILLE 37
Proud Sponsors of the Arts CIBC is committed to cultivating strong, vibrant communities across Canada. That’s why we are proud supporters of the Edmonton Opera.
Rob hood fund
The Edmonton Opera is the grateful recipient of a generous gift from the Rob Hood Fund. Mr. Hood’s direction was that these legacy funds be used to attract operatic singers of the highest calibre. The first gift from the Rob Hood Fund was an award to Metropolitan Opera stars Angela Brown and Carl Tanner, who were two of the lead singers in Aida. Our second gift was committed to renowned soprano Anne Sophie Duprels, who appeared in the lead role of Madama Butterfly in April 2014. Butterfly was the first opera ever performed by Edmonton Opera in 1963 and part of its inaugural season, so this was a most apt acknowledgement of the company’s legacy in its 50th anniversary season. Dr. Irving Guttman, artistic director emeritus of the Edmonton Opera, shares his memories of Mr. Hood.
“I first met Robert when he joined our chorus in 1965. Two things were clear between us, we both loved opera and while he was serious and dedicated about his singing, we agreed that it was important to pursue one’s passions but not necessarily aspire to singing on the Met stage. He contributed to Edmonton Opera as both a board and guild member. That said, I believe his work in our chorus was seminal to his fine appreciation of the power and presence of the human voice. With his personal experience as a bass, his respect grew for the voices of the operatic greats of the time. He liked to call it ‘fine singing!’ “Rob was very principled in his belief that there were certain ways to do things, which extended to being a rather private person, to dressing properly and to being immensely loyal to his friends and colleagues. “Aside from his avocation, Rob was well placed in his work with the Alberta government’s culture portfolio. He was always committed to high standards, personally and professionally, and I am certain those were valued qualities in his work, thus making him known and respected in the arts community in the province and beyond.”
The actors at the jube aren’t pixels – they’re real and they’re right in front of you. Here are just a few tips on how to make your night stand out.
1 Skip the lines at intermission! Pre-order your refreshments at any of our concessions. 2 Pump up the volume and zoom into the action! Ask about infrared listening devices and binoculars at Patron Services. 3 Get a room! Organizing a group outing? Talk to our staff about renting out a luxury suite. It comes stocked with food, drinks and its own bartender. Not to mention its very own washroom! Giving Props... The Jube is proud to have Edmonton Opera as one of its Resident Companies. With a proud 50 year history, Edmonton Opera is committed to producing opera of the highest possible calibre and making their productions as accessible as possible in the community.
Check out our new website at jubileeauditorium.com!
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Gifts of shares to Edmonton Opera In 2006, the federal government eliminated capital gains on gifts of publicly traded securities to registered charities and foundations. Publicly traded securities are all securities listed on Canadian and major international exchanges. Such securities include stocks, trust units, mutual funds, bonds, exchange-traded funds and warrants. The elimination of capital gains tax on such publicly traded securities donated to Edmonton Opera provides donors with two significant tax-saving opportunities: there will be no capital gains tax on the gift, and you will receive a charitable receipt from Edmonton Opera, tax deductible to the full amount of the gifted securities. However, note that when you make the donation it must be a direct transfer of the security itself, not the cash proceeds from a sale of the security. This exemption can be applied to income tax returns up to five years after the gift has been made, as with any charitable contribution. This tax saving also applies to gifts designated in a will, if the donor arranges for their estate to transfer securities instead of the cash proceeds. To explore this type of donation and the possible tax benefits, you can visit the Canada Customs and Revenue Agency website at cra-arc.gc.ca for further assistance, or contact the Edmonton Opera.
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As it turns out, the owners of Duchess Bake Shop have so many baking tips and secrets they wanted to share, they couldn’t fit them all into their new cookbook. Scheduled to launch Nov. 9, the cookbook was Giselle Courteau’s major project for over a year, said Garner Beggs, adding they had to edit out an entire chapter and recipes from each of the remaining chapters, just to keep the page count manageable. Still, the book details instructions for nearly 90 of Duchess’ most popular treats. “I wanted people to get a better insight into what goes on in the kitchen on a day-to-day basis,” Beggs said. “Likewise, with a lot of the kitchen techniques that we use — I mean, none of the things that happen in the kitchen, it’s not magic. “We don’t have any sort of top-secret techniques that we’re going to reveal to you and change the world. They’re all classic baking techniques that are used in any kitchen, but there are a lot of fairly simple, straightforward things that I think we do that other people baking at home don’t realize or don’t understand or don’t know about, that we’ve learned, kind of the hard way.”
Vanilla madeleines | makes 24 madeleines | INGREDIENTS
160 g (1 cup) 1/2 tsp 4 150 g (3/4 cup) 150 g (2/3 cup) 2 tsp 100 g (1/2 cup) 120 g (1/2 cup)
all purpose flour baking powder large eggs, at room temperature sugar unsalted butter, melted and cooled vanilla extract or paste sugar water
Equipment | You will need a 16- or 24-cavity madeleine pan. It’s hard to come up with an alternative pan to use as it’s the shell-like shape that makes the madeleine unique, however, a mini-muffin pan will also work. Procedure | The batter will need to rest in the refrigerator for at least three hours before baking. When ready to bake, preheat your oven to 400°F (205°C). Grease and flour the madeleine pan.
Asked about creating another cookbook, Beggs laughed — and then quickly admitted that since he didn’t do the lion’s share of work, he may have a different opinion than Courteau and Jacob Pelletier (the third co-owner, who did most of the testing to ensure the recipes would work in a non-commercial kitchen).
1. Mix the flour and baking powder in a small bowl and set aside.
Beggs also had to think for a minute about his favourite recipe, finally deciding on Courteau’s perfected macaron recipe, which people can now try for themselves.
5. While the batter is resting, make simple syrup by placing the sugar and water in a small saucepan. Bring to a boil to dissolve the sugar. Remove from heat and set aside to cool.
“We’ll create more of a conversation, where [people] will be like, ‘Oh, I tried this recipe at home, and it’s slightly different, what do you think I did wrong?’” Beggs said. “I love actually talking with people and having them be informed about what they’re getting and then having interesting conversations regarding all of the different products and ingredients and technique.”
44 THE BARBER OF SEVILLE
2. Whisk the eggs and sugar in a bowl until well combined. Add the butter, vanilla and any other flavour additions until well combined. 3. Make a well in the centre of the dry ingredients, and whisk in the wet ingredients. Mix until well combined. 4. Cover with plastic wrap and refrigerate for at least three hours.
6. Using a small ice cream scoop or spoon, fill each madeleine cavity to about three-quarters full. Bake for about 10 to 12 minutes, until they are golden around the edges. You’ll see a bump rise up in the middle of each madeleine — a sign of success! 7. Once baked, immediately unmould the madeleines by gently tapping the pan on the counter. Dip each one in the simple syrup to coat well. Best served warm, but may also be served at room temperature.
Storage | Madeleines are best eaten the day they’re baked. The batter will keep for up to three days in the refrigerator or up to one month in the freezer.
© 2015 Mercedes-Benz Canada Inc.
David Morris Fine Cars
17407-111 Avenue, Edmonton, AB • 780-484-9000 • davidmorrisfinecars.com
Hannah’s surgery gave her back the ability to walk. – Jacob (twin brother)
Thank you for helping us fund excellence at the Stollery Children’s Hospital.
To learn more, visit www.stollerykids.com or call 780.433.5437.
Becoming a billet for edmonton Opera Each season, we share with Edmonton audiences fantastic artists from all over the world. Opera casts vary greatly in size, depending on the production, and the Edmonton Opera is always looking for accommodations that will make the artists feel at home for the five to six weeks that they are staying in Edmonton. It’s easy to be a billet for Edmonton Opera — we are looking for people who can offer the artists some personal, private space in their home, preferably with no pets and with access to a kitchen. Close to the Jubilee Auditorium or near transit and LRT routes is Ed Wiebe and Marcia Johnson have displayed images from all the opera productions where they’ve hosted billets, in the entrance to their basement suite. also preferable, as rehearsals can be scheduled between 10 a.m. and 10 p.m. Current EO billets are quick to speak of the unique experience they have had hosting artists, as opera singers in the past have often been happy to share their stage experiences and provide a glimpse into the theatrical world for their hosts. The Edmonton Opera is also able to offer some benefits in exchange for becoming a billet. When staying in a hotel or other commercial residence, visiting artists are required to pay for their own accommodation, so we also greatly appreciate donors who choose to support the artists and Edmonton Opera by making a donation to cover accommodations, flights or car rentals. We are very grateful to Francis Price and Marguerite Trussler, as well as Ed Wiebe and Marcia Johnson, who have graciously billeted Edmonton Opera artists numerous times in past seasons. Please contact Ha Neul Kim, artistic manager, at haneul.kim@edmontonopera.com or 780.392.7839 for more information about becoming a billet or making a donation to cover accommodations for artists during the 2014/15 season.
Francis Price & Marguerite Trussler
LEDCOR IS A PROUD SUPPORTER OF THE ARTS IN EDMONTON.
VISIT LEDCOR.COM
THE BARBER OF SEVILLE 47
THE LAND IS OUR STAGE. Our performance proves it.
Edmonton’s Land Developer of Choice Phone: 780-440-2121 www.sureway.ca info@sureway.ca Facebook “f ” Logo
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THE MAGIC OF CHRISTMAS DECEMBER 18 - 21, 2014 JUBILEE AUDITORIUM | 11455 - 87 Avenue
FEATURING A SPECIAL GUEST APPEARANCE BY:
Get your tickets at Ticketmaster or visit edmontonsingingchristmastree.com
BRETT KISSEL PRESENTED BY:
Bill & Grace Knight
Helping your business hit the right note every time The business world is a lot like an opera, with drama, intrigue and suspense held in a mysterious balance. To find out what happens next, contact one of MNP’s business advisors. Our professionals provide clear, straightforward business advice tailored to you and your operation. To find out how MNP can help you, contact James Gillespie, CA at 780.453.5380 MNP. Proudly supporting the Edmonton Opera 2014 / 2015 season.
THE BARBER OF SEVILLE 49
TO COMMEMORATE THE CENTENARY OF WWI
P H OTO : MIC H AL DANIEL P H OTO GR AP HY, LTD.
CALGARY OPERA PRESENTS THE CANADIAN PREMIERE OF THE 2012 PULITZER PRIZE WINNING OPERA
Silent Night BY KEVIN PUTS AND MARK CAMPBELL
NOVEMBER 8, 12, & 14, 2014 SALLY DIBBLEE ROGER HONEYWELL BRETT POLEGATO ANNA SORENSON
NIKOLAUS SPRINK
DANIEL OKULITCH LT. HORSTMAYER
LT. AUIDEBERT
JAMES WESTMAN LT. GORDON
CONDUCTED BY JOSEPH MECHAVICH | DIRECTED BY DAVID GATELY
AT THE SOUTHERN ALBERTA JUBILEE AUDITORIUM
Inspired by true events, Silent Night tells a story of World War I combatants who lay down their weapons in a spontaneous truce on Christmas Eve. It is moving, it is dramatic, it is a glimpse of humanity in the bloodiest of times. SILENT NIGHT PRODUCTION SPONSOR
C O M M E M O R AT I V E E N G A G E M E N T SPONSOR
BOX OFFICE 403-262-7286 |
c alga r yopera.co m
SEASON SPONSOR
edmonton opera board of directors 2014-2015 season
Richard Cook, Chair Francis Price, Vice Chair Ken Keenleyside, Treasurer Irv Kipnes, Past Chair Robert Bessette Jennifer Brown John Cameron
Mary Clonfero Craig Corbett Ashif Mawji
Melanie Nakatsui Robert Rock Bernie Robitaille Stella Varvis
Irving Guttman, Artistic Director Emeritus
edmonton opera staff Executive
Tim Yakimec, General Manager
Finance
Debra King, Interim CFO Serene Yau, Accountant
Community Relations
Cameron MacRae, Senior Manager, Marketing Catherine Szabo, Communications Manager Jennifer Hinnell, Grants Officer
Fund Development
Grant Smith, Director of Advancement Gwen Horvath, Fund Development Manager Mickey Melnyk, Stewardship Officer
Box Office
Joanne Madeley, Box Office Manager Rebecca Anderson, Outreach Coordinator & Box Office Assistant Celyne Runzer, Box Office Clerk
Artistic Administration
Ha Neul Kim, Artistic Manager & Resident Stage Manager Peter Dala, Chorusmaster
Production and technical
Clayton Rodney, Production & Technical Director Greg Brown, Head Scenic Carpenter & Shop Supervisor Kathy Cooper, Assistant Scenic Carpenter Deanna Finnman, Head of Wardrobe & Resident Wardrobe Designer Chantel Fortin, Head of Properties Patsy Tomkins, Production Assistant Avril Stevenson, Wardrobe Cutter Brenda Inglis, First Assistant Wardrobe Michelle Warren, Second Assistant Wardrobe/Milliner Kathryn Neuman, Wardrobe Stitcher Ava Siemens, Wardrobe Stitcher Danine Regenwetter, Wardrobe Stitcher
Production and technical Stage Crew Geoff Bacchus, Head Stage Carpenter Greg Brown, Assistant Stage Carpenter Al Kliss, Head Fly Alison Hardy, Head Electrics Joseph Race, Assistant Electrics Chantel Fortin, Head Properties Katie Hartfeil, Assistant Properties Danine Regenwetter, Head Wardrobe Dresser Kathryn Neuman, Assistant Wardrobe Dresser Cathy Nicoll, Head Make-up Noreen Jani, Assistant Make-up Judy Morley, Head Wigs & Hair Nancy Horn, Assistant Wigs & Hair Jacquie Dawkins, Supertitle Cuer
THE BARBER OF SEVILLE 51
w w w.u n d e rth e h i g h w h e e l .co m 8135 – 102 Street, Edmonton, AB | 780.439.4442
Jacob’s successful surgery means he can run, jump and slide like a regular three-year-old. – Janna (mom)
Thank you for helping us fund excellence at the Stollery Children’s Hospital. To learn more, visit www.stollerykids.com or call 780.433.5437.
THE BARBER OF SEVILLE 53
Upcoming
events
Jan. 14, 2015 Understand the context of The Magic Flute with a multi-disciplinary panel discussion at Opera 101, 7 p.m. in the Ledcor Theatre at the Art Gallery of Alberta. This event is complimentary. Jan. 18, 2015 Enjoy great food, followed by intimate recitals by the artists of The Magic Flute during Opera Brunch. Jan. 29, 2015 The education dress rehearsal allows students to experience opera firsthand. Teachers can contact education@edmontonopera.com to arrange tickets. Jan. 31, Feb. 3 & Feb. 5, 2015 The Edmonton Opera presents The Magic Flute, an enchanted fantasy envisioned as an exotic pop-up storybook, on a colour-saturated set with sharp angles and abstract design. Feb. 12, 2015
Join us at the annual Valentine’s Day Gala for dinner, along with romance and entertainment under a starry night at the Shaw Conference Centre, in support of the Edmonton Opera.
For more information or to purchase tickets to any of these events, please call 780.429.1000, or visit edmontonopera.com.
54 THE BARBER OF SEVILLE
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