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contents
4 Message from Richard Cook, Chair
6 Partners and Sponsors
9 Director’s Circle
10 Friends of Edmonton Opera
13 Endowment Fund
15 Composer Bio
Cast and Production Credits
16 Director’s Message
20 Synopsis
Administration Office: 15230-128 Ave., Edmonton, AB T5V 1A8 Ph: 780-424-4040 Fax: 780-429-0600 Email: info@edmontonopera.com www.edmontonopera.com
22 Program Notes
27 Artists’ Profiles
43 Valentine’s Gala
51 Planned Giving
55 Rob Hood Fund
59 Edmonton Opera Chorus and Orchestra
63 Edmonton Opera Board and Staff
66 Upcoming Events
The Edmonton Opera magazine is published by Playhouse Publications Ltd. 1200 Bell Tower 10104-103 Ave., Edmonton, Alberta T5J 0H8 Ph: 780-423-5834 • Fax: 780-413-6185 • www.playhousepublications.ca
GOVERNMENT & FOUNDATION SUPPORT
Message from
richard cook, CHAIR Welcome to our evening of Champagne parties and good times. Unlike Richard Strauss’ Salome, our players this evening in Johann Strauss’ Die Fledermaus are out to enjoy themselves to the max.
Die Fledermaus lies in the realm of operetta, with a strong Viennese style of marches, waltzes and polkas — singable good tunes with a lighthearted plot. Much has happened over the past few months at Edmonton Opera. I have received many positive comments about our first production of Salome, and I congratulate the artistic team that put together this excellent opera. On the business front, the management and board have worked together to build strong management tools and responsible oversight so that our supporters and patrons can enjoy our productions for many years to come.
first joint fundraising venture featuring the ESO, Edmonton Opera Chorus and three amazing (and amazingly funny and handsome) baritone singers: Gordon Bintner, Elliot Madore and Philippe Sly, all under the direction of ESO’s conductor Bill Eddins. Tickets available at edmontonsymphony.com. Our 50th anniversary season closes with Madama Butterfly (April 5, 8 and 10) by Giacomo Puccini. This was the first opera performed by the then-called Edmonton Professional Opera Association some 50 years ago. Reflecting on the past work of Edmonton Opera, I think of all of the staff and volunteers who have worked so hard to make sure that our city is enriched by the presence of an opera company. I would argue that without an opera company, a city has not really “grown up,” and I believe Edmontonians can be proud of all of our outstanding arts organizations that make this such a good place to live and work.
In closing, if you are like me, you will enjoy our upcoming 2014/15 season. The work is familiar, but also some of the most popular works for audiences. Whether you dress up or down, we want your opera Fileis Name: LOG09017_RM_AD_ArtsCutlure_7.25x4.625_0913 An exciting new venture this year a partnership with the Edmonton experience to be a first-class one, and we will continue to work hard Trim: 7.25” xNo 4.625” Canadian Marketing Symphony Orchestra for the presentation of Tenors Allowed to enhance your total enjoyment of attending Edmonton Opera 100 Yonge Street, 16 Floor Bleed: 0.125" Safety: n/a Mech Res: 300dpi (Monday, March the Winspear Centre). This is our Toronto, ON 24, M5C7:30 2W1 p.m. atColours: performances. CMYK th
d e r i p s n i my life e rts. by th a The Arts makes us better. It pushes us to develop new perspectives. To see the world in a different light. It inspires us to pursue our own passions. We get so much more back from the Arts than we could ever imagine – that’s why we support the Arts in Canadian communities as part of our Bright Future program.
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4 DIE FLEDERMAUS
13-09-30 3:55 PM
&
PARTNERS
SPONSORS
SEASON SPONSORS
WINE AND
BEYOND SPIRITS BEER & MORE
Production Sponsors
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DIE FLEDERMAUS
Emerging Artist Sponsors
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6 DIE FLEDERMAUS
Education Dress Rehearsal Sponsor
Supertitles SponsorS
SPONSORS
Official Supporters
GOLF CLASSIC SPONSORS Title Sponsor PCL Cart Sponsor Hemisphere Engineering Million Dollar Hole-in-One Sponsor Playhouse Publications Ltd. Breakfast Sponsor Miller Thomson LLP Cocktail Reception Sponsor Williams Engineering Canada
Hole Sponsors Angus Watt Advisory Group Bell Big Rock Brewery E & J Gallo Winery Jack & Esther Ondrack HSBC Canada ICI Minhas Micro Brewery Northern Alberta Jubilee Auditorium Sleeman Transcontinental Printing Witten LLP
Media Sponsor Edmonton Journal Car Hole-in-One Sponsor Western GMC Buick Cash Hole-in-One Sponsor Investors Group Food Sponsors Fat Franks Canada Safeway Gift Bag Sponsor Colnuck Ltd.
Edmonton Opera is grateful for the support of these sponsors, suppliers and media partners. For more information about supporting the Edmonton Opera, please call 780.392.7837 or email development @edmontonopera.com. DIE FLEDERMAUS 7
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16646 - 111 Avenue NW Edmonton, Alberta www.worldstone.ca 780-481-4511 C O U N T E R T O P S
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F I R E P L A C E S
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S H O W E R S
DC
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 780.392.7837.
Season SponsorS $250,000+ Dianne & Irving Kipnes Rob Hood Fund
$6,000+ Larry & Ellen Eberlein Frederic & Alma Gojmerac Jeffrey Jansen Ed Wiebe & Marcia Johnson
Die Fledermaus Production Sponsor Creekwood Chappelle
$5,000+ David Berman Mark & Nancy Heule Laurence Jewell Thomas & Melanie Nakatsui Alan Rose & Judy Schroder Arnold & Grace Rumbold TD Canada Trust Don Wheaton
SALOME Production Sponsor $150,000 Francis Price & Marguerite Trussler Visionaries $50,000+ Jim & Sharon Brown Shelley & Guy Scott Family Foundation MaestroS $20,000+ Sarah McLachlan Foundation $15,000+ Marianne & Andy Elder $10,000+ Russell M. & Marjorie Purdy
PATRONS $4,000+ Richard S. Cook Bertrand Malo Chris & Vivian Varvis $3,000+ Robert Bessette Branko & Jasna Calic Hans & Susanne Forbrich Dr. Christine Kyriakides Steven & Day LePoole Rod & Heleen McLeod Arliss Miller
BenefactorS $1,750-$2,999 Tricia Abbott Justice Darlene Acton LEADERS Pauline Alakija & Paolo Raggi James Archibald & Heidi Christoph $7,000+ Baker Fath Group — O’Hanlon Paving Ltd. Rhonda Douglas K Bingham & Jack & Esther Ondrack Sheila Janki-Bingham
Cheryl & Gary Bosgoed Carol & David Cass David & Patricia Cassie Dr. Mary Chisholm Marian Clarke Elaine Coachman John & Judy Cosco Tracy Dawn Czuy McKinnon Heinz & Donna Feldberg Joseph and Pat Fernando Peter & Astrid Griep Linda Hamilton Karen & Pam Hofmann William Johnston & Mary Ritchie Brian Kucey & Elena Hernandez-Kucey Alan Kuysters Joan Lopatka & Bill Rutledge Hilliard & Nancy Macbeth David & Pam Margolus Ashif & Zainul Mawji Laurel Mckay Carman & Averie McNary Michael & Mariette Meier Ken & Gerda Miller Neil & Susan Miller Shauna Miller & James Gillespie Risha Milo Kyle & Colleen Murray John Oberg Eleanor Olszewski Aline Pratch Dr. Leonard Ratzlaff James E. & Vivian Redmond Tulane Rollingher Marshall & Lisa Sadd Gabe and Connie Shelley Margaret Slate | Slate Personnel Katie Soles Eira Spaner David Steer & Larissa Whiting Stella Varvis & Paul Grossman Wawanesa Robert A Wilson Bill & Paulette Winter Paola Zanuttini DIE FLEDERMAUS 9
FRIENDS of Edmonton Opera 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 780.392.7837 or email individual.giving@edmontonopera.com. SustainerS
($1,000-$1,749) Richard Balan & Tracey Ripley Michael Boire Greg Christenson John & Ann Dea Dr. Robyn Fowler Libuse Kuzel Stephen & Lynn Mandel Peggy Marko Alan Mather & Helgard Proft-Mather Keith & Brenda McNicol Hugh Mcphail & Yolanda Van Wachem Mercer Bradley Kevin Neveu North West Crane Wesley M. Pedruski Precision Drilling Corporation John Speirs Brian & Dawn Vaasjo C. Von Hohenbalken Ralph & Gay Young
Lewis Nakatsui George & Teresa Pemberton Fay Plomp Clarence & Elizabeth Preitz Dr. Dean Rokosh Michael Roulston Kelly Sheard Michael & Nance Smith Joe Tkalcic Frank & Suzanne Vani Paul & Norah Verhesen Knut Vik & Frank Calder Joan Welch Ralph James Wood Gerhard & Inge Zmatlo
CONTRIBUTORS
($250-$499) Diana M. Bacon Lucie & Armand Baril Stella & Walter Baydala Alan & Alice Bell Wesley Boe William A. Bowlen Robert & Helen Buck Janet Carle SUPPORTERS Gary Christenson ($500-$999) Craig & Naomi Corbett John Adria Donald & Nancy Cranston Michael Bacchus Brenda Dale Joan Bensted Peter & Kathleen Daly Jennifer Brown Sheila Davidson Henry & Debbie Bruinsma Tom Diamond Kathryn Buchanan Len Dolgoy Cameron Developments Brett Dravinskis Doug Cannam Steven Duong Bernie Corry Noella Fagnan Louis & Marcelle Desrochers Martin & Peggi Ferguson-Pell Robert Edmunds Terry Fillmore Ivan & Ksenia Fedyna David Finlay Bill Grace Kevin & Rachel Foster A R Grynoch Shirley & Jim Funk Radhe & Krishna Gupta Randy Garvey Andrew Hladyshevsky Louise Gibson Douglas & Dorothy Hollands Paul & Stacey Gibson HUB International Canada West Gabor Gyenes & Erika Mullner Hughes Petroleum Ltd Ross Haffie Patricia Johnston Kenneth & Jean Heavenor John Karvellas Ben Horcica Karen & Thilo Kaufmann Dr. Jiri Hrazdil Prof Corp Kim & Jay Krushell Lesley Jacobson & Wynne Rigal Shawn & Jane Kubiski Pavel & Sylva Jelen Peter & Jean Langford-Jones Sandra Kavanagh Rick LeLacheur Taras J Keyko Liquor Stores Loretta Klarenbach Neil & Jean Lund Wade Klimchuk Devon J Mark & Leslie Kozma Allen Vander Well Cody Lakevold Denis & Ruth McGettigan Craig Lazaruk Kevin & Lyn McKee Lloyd Lewis Les Moss Franklin C Loehde 10 DIE FLEDERMAUS
Douglas Lynass Lowell & Donna Lyseng Brenda MacDonald Kelly MacFarlane & Christopher Mackay Dave Majeski Julian Mayne Grant Mccurdy Bob McNally Linda Medland-Davis Dallas & Laura Miles Jim & Linda Mitchell Maureen Nicholson Mel Olmstead Aaron & Jean Oshry Alex & Kelley Pagnotta Edward & Geri Papp Wes Patterson Jason Portas David Rees & Linda Miller Mary Richardson Clayton Rodney Hilary & Robert Rose Orla Ryan Harvey Saskiw Alison Seymour R. & W. Sherbaniuk Anne Shillington Doug & Devika Short Gerry & Barbara Sinn Mike Staines Greg Steele Campbell & Rosalind Sydie Karen Trace Donna Valgardson Ryan Vestby Brian Wallace Dr. Lorraine Wilgosh Tim Yakimec Christine & Gene Zwozdesky
MEMBERS
($100-$249) Jodi Abbott Brent Agerbak Barbara Allen America Aznar Carmona Jocelyn Bahrey Brian Baker Justin Barbour Erika Barootes Vicki Barrow Barbara Batoni Lola Baydala Geraldine Bidulock Marc R Bisson David Blackley Jelena Bojic Dr. Grace Bokenfohr Blair Bondar Gordana Bosiocic
Bill Boyd Marion Boyd Kathleen Brady Martha J Breithaupt Stephen & Carolyn Campbell Ken & Denise Cantor Alan M & Caroline Carroll Donald Chisholm Kathryn Chisholm Joyce Christenson George Christidis Chung Chu Stacey Claffey Clark Builders Janet M Clark Phyllis Clark Marta Collier Carole M Conrad Karin Conradi George & Heather Coon J.E. Cote Marcie Coutts Suzanne Cowles Dr. Diane Cox Gary & Sue Cutmore Miles Davis Shirley Day James & Gail Defelice Kathy Demuth Dan & Lorna Dennis Iris Diduck-Rudnisky Dr. R.J. & Janet Dmytruk Maggie Dower Arthur & Heather-Belle Dowling Dwayne Dufva Frank & Muriel Dunnigan Jim Ebbels Lowell Eckert Tim Eckert Alfred & Coleen Falk Werner Fenske Ferdinand Filiplic Agnes Fisher Jason Fjeldheim Karin Fodor Justin & Kelty Germain Elaine Gill F.S. & Margaret Golberg Jon Goor Orest & Linda Gowda Crystal Graham Garry Graham Laura Graham Charles & Ann Grant Richard Groom Wesley Gunderson Dr. Mary Ellen Haggerty Bruce Hagstrom Daniel Hamilton Wes & Joceylyn Hamilton
John Hampson Alice Harrison Zenia J Hawrysh Dr. T Hayashi Ghislaine Hebert Lesley Helppleston R & Barbara Henderson Jeremy & Elizabeth Herbert Cathryn Heslep Dr. Judith Hibberd Leroy & Barb Hiller Candace Hills Dorothy Hollands Georgette Holyk Dr. Jiri Hrazdil Prof Corp Bonny Hubert Dr. Sheila L Hughes Colleen Ilkiw Stewart & Juliette Inglis Investors Group Matc Erik & Franziska Jacobsen Susan Jaksich Keith Jansen Ben Jensen Alan Jones Larry Judge Ajeypal Kang Debra King Shirley Kirkpatrick Vera Kornelsen David & Sandra Kraatz Lorraine & Stan Kucey Jean Langley & Tim Winton Arthur S. Langner Ian Large Tara-Lee LaRose Mark LaRue Karen Leibovici & Stephen Zepp Mary LeMessurier Leo Levasseur Susan & Murray Lieberman Dr. Laurie Litwinson Laurie Lodge Doug & Joan Longley David Lynch Richard Lyne Kirby Mack Gordon Malic James Malkin Antoinette Marchand Graeme Marr Joan H Marshall Jacob & Odette Masliyah John & Cathleen Matthews Karen Mazurek Bruce Mccollum Chelsey Mclaughlan Roderick McLean Jan McMillan Mickey Melnyk
Jillian L Scherba Don Schultz Anton & Marianne Schwabenbauer Sheelagh & Andrew Semper Vaughn & Jennifer Shears Karen Sherlock Marshall & Debby Shoctor Jamey Singh Jim Sirup Michael Skozakewich Howie Sniderman Lon Sokalski Ron Sorokin Sheila Steinhauer-Mozejko Lorenz & Theodora Stenger Alex Stenner G H & Isobel Stout Household Anne Strack
Brian Quinn & Havington Hail Paul Rachynski Carlos Raposo & Judy Strachan Eugene & Jeanne Ratsoy Trevor Reddekopp Terrie Reekie Yvonne Rekken Jordan Rice Janet Riopel Ron & Carol Ritch Carolynne E Ross Dr. E J Rudnisky Kathleen Ryks Kathleen L Savey Jelena & Dusan Savic Tom & Bev Sawyer Brian Scheerschmidt Wendy Schelske
Donations made in memory of Dr. Lee Anholt: Laurence Jewell
Donations made in honour of Dianne & Irving Kipnes: Jocelyn Bahrey Karen Leibovici & Stephen Zepp David Berman Shauna Miller & James Gillespie Geraldine Bidulock David & Pam Margolus Jim & Sharon Brown Jacob & Odette Masliyah Stephan & Carolyn Campbell Francis Price & Marguerite Trussler Ken & Denise Cantor Ron & Carol Ritch Craig & Naomi Corbett Shelley & Guy Scott Family Foundation Len Dolgoy Marshall & Debby Shoctor Joseph & Pat Fernando Marv & Donna Weisler Crystal Graham Bill & Paulette Winter Taras J. Keyko
Donations made in memory of Dr. David Cook: Dr. Grace Bokenfohr
Thank you to those who have previously donated in memory of Kimberly Heard and Dr. Robert J. Buck. Only 2013/14 season donations and/or pledges processed up to Jan. 7, 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 780.392.7837. 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!
FRIENDS OF THE OPERA
benefits
MEMBER
Tax receipt Acknowledgment in Intermezzo magazine Complimentary poster from our current season
• •
Invitation for two to each dress rehearsal and VIP reception Two tickets at 30% off for each mainstage production Exclusive VIP event (per season) Two invitations to the exclusive DC Lounge VIP courtesy Jubilee parking during performances Backstage tour of a mainstage production Two complimentary Opera Brunch tickets Invitations to each Sitzprobe rehearsal Invitation to cast dinner Two complimentary mainstage subscriptions Recognition as a production or principal artist sponsor Access to private recitals
$250+
• •
$500+
• • •
$1,000+
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Donations made in memory of Dr. John Martin: Martha J. Breithaupt
Donations made in memory of Norah McKillop: Brenda Dale
Donations made in memory of Howard Irving: Kathryn Buchanan John Karvellas J.E. Cote Alec & Irene Murray Joseph & Pat Fernando Francis Price & Marguerite Trussler Richard Fraser Larry Judge Donations made in memory of Ernie LeMessurier: Sandra Gajic Louis & Mary Hyndman Dianne & Irving Kipnes Stephen & Lynn Mandel
Francis Price & Marguerite Trussler Hilary Rose
DIRECTOR’S CIRCLE
CONTRIBUTOR SUPPORTER SUSTAINER BENEFACTOR
$100+
Trudy Velichka Joe & Sabrina Viana A.C. & Patricia Visman Alida Visscher Ian Wachowicz Marv & Donna Weisler Jolanta Wiens Randy Williams & Janice MacDonald Dan Wilson & Leah Margiotta Norine Woods Doug & Mary Wright Serene Yau Jim Yih Edward Yoo Kurt Zolmer Richard Zolmer Mark Zutz
Martin & Heike Stribrny Edwin Strimer Danny Sullivan Jean Sult Frederick Tams Sonia O Tarabay Dave Tarkowski Mark & Sarah Taylor Louis Te Doug Thomas Glen & Ashley Tichkowsky William Tonn Colin Tooth John & Mandy Trapp Darcy Trufyn Melvin Tussman Dennis Vance Terry Michele Veeman
Spencer Melnyk Marcio Mendes Zoltan Meszoly Ronald & Carole Middleton Sandra A Mikalonis Janet Millar Paul Monson Kevin & Robyn Mott Lindsay Munn-Price Alec & Irene Murray Chris Nicholas Michael O’Dell Dr. Thomas O’Leary Fred Otto C.H. Parks Jelena Pekez Homsanith Phetlathy Barbara Prodor
$1,750+
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PATRON
LEADER
$3,000+
$5,000+
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MAESTRO
VISIONARY
$10,000+ $25,000+
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DIE FLEDERMAUS 11
Apple Fitness Store
LEARNING TO SKATE 2014 $10 FINE SILVER COIN
Featuring an original artwork by Canadian artist Tony Harris
12 DIE FLEDERMAUS
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 780.392.7837.
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 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. DIE FLEDERMAUS 13
VERDI
Falstaff
DEC 14 ENCORES JAN 18, 20 FEB 5
MET OPERA
LIVE ON SCREEN IN MOVIE THEATRES 2013–14 Season
DVORˇ ÁK
Rusalka
FEB 8 ENCORES MAR 29, 31
BORODIN
Prince Igor
MAR 1 ENCORES APR 12, 14
MASSENET
Werther
MAR 15 ENCORES MAY 24, 26
PUCCINI
La Bohème
APR 5 ENCORES JUN 7, 9, 18
MOZART
Così Fan Tutte
APR 26 ENCORES JUN 21, 23
DVORˇ ÁK
Rusalka
FEB 8 ENCORES MAR 29, 31 Starring Renée Fleming
Visit Cineplex.com/Opera for tickets and participating theatres. ROSSINI
La Cenerentola
Encore performances are only available at select theatres. Performances may not be available at all participating theatres for all advertised dates.
Transmission of The Met: Live in HD in Canada is made possible thanks to the generosity of Jacqueline and Paul G. Desmarais Sr.
MAY 10 ENCORES JUL 5, 7, 16 TM/®
Cineplex Entertainment LP or used under license.
Edmonton Opera presents
Composer
DIE FLEDERMAUS
BIOGRAPHY
February 1, 4 & 6, 2014 Production sponsored by Creekwood Chappelle
Johann Strauss II Born in Vienna on Oct. 25, 1825, Johann Strauss II was the eldest of six children, and displayed musical gifts at an early age. He began composing when he was six years old, and his mother arranged for him to secretly study violin, as his father wanted him to have a career in banking instead of pursuing music. The elder Strauss popularized the waltz worldwide, while his sons Johann, Joseph and Eduard all enjoyed their own musical successes as orchestra conductors and composers of dance music. The musical rivalry between father and sons, however, would last until the elder Strauss’ death. After his father’s death in 1849, Johann Strauss II combined two orchestras — the one his father had conducted, and the one the younger Strauss had formed and had made his professional debut with as concertmaster and conductor in 1844. He enjoyed tremendous success as both a composer and a conductor, inheriting his father’s title of “The Waltz King.” He is best remembered for his waltzes and polkas, and concentrated on dance melodies (especially during the 1860s and early 1870s) because he did not believe his music was well-suited to the stage or theatre. By the 1870s, however, Offenbach’s comic operas were extremely popular in Vienna, and Strauss’ first wife, Jetty Treffz, encouraged Strauss to try his hand at operetta. Most of Strauss’ subsequent dance music was excerpts from his operettas. His first complete operetta, Indigo und die vierzig Räuber, premiered in 1871 and was successful, followed by Karneval in Rom (1873). Die Fledermaus (1874) is considered his masterpiece. His compositions evolved into a style that was purely Viennese, resulting in Der Zigeunerbaron, a fusion of operetta with comic opera. While he attempted to create serious opera, Ritter Pazman was not particularly successful, and Strauss returned to composing operettas. Treffz died in 1878, and Strauss married Angelika Dittrich. After nine years, he separated from her and married Adele Deutsch, though because the Catholic Church would not allow a divorce, he changed his nationality and religion to do so. Strauss died of pneumonia on June 3, 1899, at the age of 73.
Music by Johann Strauss II English libretto by Ruth & Thomas Martin Original libretto by Carl Haffner & Richard Genée Premiere: April 5, 1874, Vienna
Conductor/Chorusmaster Director/Choreographer
Peter Dala Allison Grant
The Cast (in order of vocal appearance)
Prince Orlofsky Alfred Adele Rosalinde Gabriel von Eisenstein Dr. Blind Dr. Falke Frank Ida Frosch
Gerald Thompson Adam Fisher Jacqueline Woodley Betty Waynne Allison Gordon Gietz Aaron Ferguson Peter McGillivray Edward Hanlon Tanya Roberts Julien Arnold
with members of the Edmonton Opera Chorus and the Edmonton Symphony Orchestra
Set Designer Lighting Designer Sound Designer Repetiteur Stage Manager Assistant Stage Manager Assistant Stage Manager Apprentice Assistant Stage Manager
Gary Eckhart David Fraser Bobby Smale Leanne Regehr Ha Neul Kim Anna Davidson John Raymond Mona Jiang
English dialogue performance author for Edmonton Opera Michael Patrick Albano, additional material by Stewart Lemoine. Scenery for Die Fledermaus is owned by Fort Worth Opera. Costumes by Malabar, additional costumes by Deanna Finnman. There will be one 20-minute intermission between Acts 1 and 2. The performance is approximately 2 hours and 30 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. DIE FLEDERMAUS 15
This season we present a production of Die Fledermaus, alas without the stage of imitation ice, but with a vibrant, exciting company of young, mostly Canadian singers. There is a tricky side to Fledermaus. It was written the year after the Vienna stock market crash, in 1874. It was meant as a vehicle of escapism but there is a shadowy underbelly to the piece for all its frothy tunes. It was first and foremost a scathing portrayal of a particular slice of Viennese life. It is rich with social satire.
Message from
the director
Many years ago when I first visited Edmonton Opera, I was an assistant director on Die Fledermaus. It was my first experience on “the other side of the table” where I was part of the creative team, instead of one of the performers. It was the year that Edmonton hosted the World Skating Championships and excitement in town was high. The director of that production, an old friend from my performing days, was the innovative Kelly Robinson. He decided to set the second act in an ice palace. There were young skaters from the Royal Glenora Club swirling around serving drinks to the guests at Orlofsky’s party and Toller Cranston made a surprise visit dressed as a bizarre bat on skates. It made for a lively rehearsal period and the principals were game to perform the entire production on a sheet of glare ice. Mr. Cranston said it was like skating on cardboard, but he enjoyed the novel experience of being in an opera. Always the innovator, Toller Cranston was the artist who paved the way for Elvis Stojko, for Tessa Virtue and Scott Moir, for Patrick Chan; making skating more than just a sport, but an unparalleled expression of artistic endeavor.
16 DIE FLEDERMAUS
The characters are childish, petulant and downright grasping. Yet, they all have enormous charm and we forgive them these very human traits. Strauss’ music lifts them far beyond the humdrum quality of every day survival. It makes us laugh, sing and thrill with the wild twists of the plot, and of course, go out humming the tunes. “Bitterness must turn to bliss in sweet forgetfulness…” as Alfred and Rosalinde sing to each other in Act 1. There are innumerable dialogue scripts written in the past 130 years for the director to choose from; all of them long, creaky and windy. Luckily we have a new script written with wit and brevity by the excellent Michael Albano; a fine director, teacher and librettist who has presented this version at opera companies across Canada and the United States. This version focuses on the storytelling in a modern and direct fashion. It is a terrific story, and like all good stories it ends with a certain redemption, self knowledge and forgiveness which is much deeper than the “we acted badly because of the Champagne” attitude which Orlofsky presents at the end of the show. As I write this we are in the midst of our first day of rehearsal. The questions that have caused me a few sleepless nights — “Will there be a wonderful chemistry between our Rosalinde and Eisenstein?” “Will it be a fun-loving, energetic company?” “Will the voices be up to this effervescent but challenging score?” — have immediately been put to rest. The rehearsal hall rings with laughter, with gloriously fine voices, with the hysterical jokes of Gordon Gietz and with the glamorous and elegant singing of Betty Waynne Allison and Jacqueline Woodley. In addition to these great singers we highlight the experience and talents of the fine Edmonton Opera Chorus who do double duty in this opera as singers and dancers in the party scenes. Join us, with a glass of Champagne, on the stage of the Jubilee, for an effervescent evening to brighten our long February nights. A glittering entertainment sure to suit everyone’s taste. As Orlofsky sings, “Chacun à son goût!”
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SYNOPSIS by Stephan Bonfield | Writer/musicologist
Act I
Act II
The residence of wealthy suburbanite Gabriel von Eisenstein
Orlofsky’s villa
A lyric tenor voice serenades Eisenstein’s wife, Rosalinde, to her annoyance. Adele, the maid, enters reading a letter from her sister Ida, a ballet dancer. Ida’s letter appears to invite Adele to a party at the villa of the young and immensely wealthy Russian Prince Orlofsky. Rosalinde appears, distracted by thoughts of her serenading suitor, while Adele asks for the night off work by inventing a ruse that her aunt is sick. Rosalinde refuses, explaining that her husband Eisenstein must report to jail that evening to serve a brief sentence because he lost his temper with a policeman. Meanwhile, Rosalinde recognizes that her serenader is none other than Alfred, a man who once courted her. She is startled and indignant that he casually waltzes into her home, seemingly oblivious to the fact that she is now married. She shoos him away as quickly as she can, but with an apparent tinge of regret. Eisenstein arrives, deprecating his lawyer, Dr. Blind, who incompetently managed to garner a longer jail sentence for his client. After a heated argument, Blind departs. Eisenstein’s friend Dr. Falke arrives to soothe his nerves and Rosalinde and Adele leave to prepare the evening meal. While they are gone, Falke confidentially explains that Eisenstein needs a bit of fun to forget his legal entanglement, and invites him to the grand soirée thrown by Orlofsky, a patient of Falke, whom he is trying to cure of terminal boredom with life. Falke explains there will be drinking and dancing with plenty of young ladies, and that Eisenstein should bring his famous stopwatch which is a surefire charm with all the women he has ever seduced. Falke even suggests that Eisenstein can begin his jail term — legally — the next morning. When Rosalinde returns, she is puzzled that Eisenstein is cheery and even has dressed in formal attire to serve his jail term. Rosalinde surprises Adele by telling her she can take the evening off after all, and then bids her husband a teary goodbye. With Adele present, the three sing their mock-sorrowful trio of farewell. Since Rosalinde is now alone, Alfred returns, helping himself to the dinner and opening the wine meant for Rosalinde and the nowdeparted Eisenstein. Alfred dons Eisenstein’s house robe, making himself at home. Rosalinde tries to get rid of him, fearing they will be discovered and create a scandal. However, she cannot resist Alfred, and when the jail warden Frank breaks in on them, looking for Eisenstein to haul him off to prison, Rosalinde is forced to pretend that Alfred is her husband, leaving Alfred no choice but to go with the warden, out of a sense of chivalry. As the curtain descends, a letter arrives for Rosalinde, which we assume is her invitation to Orlofsky’s grand party.
20 DIE FLEDERMAUS
Adele meets her sister Ida at the party and is surprised to find out that Ida did not send her the invitation. Orlofsky enters by announcing his boredom with life, wishing only to laugh again. Falke promises that by night’s end, Orlofsky will laugh at the scenario Falke has planned, which he calls “The Revenge of the Bat.” It turns out that Falke was the one who wrote the party invitation to Adele, and he introduces the disguised maid as the actress Olga. Eisenstein now enters, also disguised, and is announced as the Marquis Renard. After Eisenstein embarrasses himself in front of the prince, Orlofsky explains that he will not tolerate boredom or ingratitude from his guests and that he expects them to drink as much as he does, singing his motto “Chacun à son goût.” When Eisenstein recognizes Adele in his wife’s evening gown, she maintains her disguise, and embarrasses and humiliates him with the well-known “Laughing Song,” to the amusement of the guests. Frank arrives under the pseudonym Chevalier Chagrin, and he and Eisenstein (Renard) belie their French disguises by showing that they can barely speak a word of the language to one another at Orlofsky’s introduction. Disguised as an exotic Hungarian countess, Rosalinde appears, and is outraged to see her husband flirting with her maid. Falke introduces Rosalinde to her husband, who fails to recognize his own wife. Pulling out his famed stopwatch, he attempts to seduce her but is thwarted and humiliated yet again when she pockets his watch. The guests challenge her ethnicity, so to show that she is Hungarian, she sings the famous czárdás. When prompted, an over-confident Eisenstein tells the guests the story of how he pranked Falke after a costume party by abandoning him drunk on a park bench while still disguised as Die Fledermaus — a bat. Humiliated, Falke woke early in the morning and staggered back to town amid the jeers of those who saw him, enduring their ridicule while they called him “Dr. Bat.” Orlofsky proposes a toast to Champagne, the king of wines. Eisenstein becomes progressively more drunk and befriends Frank, while Falke urges everyone to get closer while sharing affections. Eisenstein tries to unmask the countess, but when the clock strikes six, he and Frank, unknown to one another, flee the party in a panic and hasten to their appointed time at the jail.
ACT III A jailhouse Frosch the jailer, who is perpetually drunk himself, complains that Alfred won’t stop singing. Frank arrives and falls asleep at his desk. Frosch meanwhile has led in two unexpected guests, Ida and Adele, who think they are seeking Chevalier Chagrin, unaware he is the hungover jail warden Frank. Adele knows she cannot possibly go back to work for Eisenstein, and announces to Frank that she has always wanted to be an actress. When Frank asks if she has any talent, Adele sings of the various roles she could play in a virtuoso display. Eisenstein shows up to serve his jail sentence but is still mistaken as Marquis Renard. Frank shows Adele and Ida to an adjoining room. Eisenstein and Frank admit to each other who they really are. Laughter turns to anger for Eisenstein however, when Frank tells him the story of arresting the man who he thought was the real Eisenstein, and the circumstances of Alfred’s affections with Eisenstein’s wife. Meanwhile, the lawyer Blind has been summoned by Alfred, who is led from his cell by Frosch, but when Eisenstein greets Blind, he hastily changes clothes with him so as to discover his wife’s infidelity. Rosalinde enters next, ostensibly to free Alfred and to concoct an explanation that won’t compromise herself. Eisenstein becomes progressively more outraged as he learns of Alfred’s intimate supper with his wife. Rosalinde defends herself to her disguised husband, tearfully describing his disgraceful behaviour at the party and that she will file for divorce. When Eisenstein sheds his disguise in righteous indignation, Rosalinde pulls out his stopwatch, and he realizes, to his final humiliation, that she was the Hungarian countess, and that he had been trying to seduce his own wife. The party guests step out from hiding along with Falke, hailing the Bat’s Revenge complete, and all sing once again of Champagne’s joys.
DIE FLEDERMAUS 21
PROGRAM NOTES Die Fledermaus johann strauss ii (1825-1899) By the time Die Fledermaus first appeared at Vienna’s Theater an der Wien on April 5, 1874, Johann Strauss II had already been dubbed the Waltz King, and his orchestral music was the toast of Vienna. But a new art form had swept across Europe, led by French composer Offenbach and Austrian von Suppé: the operetta. It’s probably fair to say that, compared to the weightier aims of opera, operetta is really sheer indulgence, with no ambitions beyond pure entertainment. Hence the generally light and often farcical stories, the inclusion of dialogue to bind events together, and the concentration on popular numbers. Hence, too, the desire of such composers as Offenbach (or Sullivan) to also be taken seriously in pure operatic works, such as Offenbach’s Les contes d’Hoffmann, seen here in Edmonton last season. The best operettas need no such apologies, and it was perhaps natural that a composer who was the master of another musical genre of pure entertainment — the waltz — should turn to a form so popular with Viennese audiences. It was Strauss’ wife, Jetty Treffz, who persuaded him to try his hand at this medium. Indigo und die vierzig Räuber (1871) was well received, but Der Karneval in Rom (1873) was a complete flop. Die Fledermaus then established Strauss’ operetta reputation, thanks to a combination of the wonderful shenanigans of the libretto and the infectiousness of its music. The story had started out in 1851 as a German play, Das Gefängnis by Roderick Benedix. It was then adapted in 1872 as a French farce, Le Reveillon, by Henri Meilhac and Ludovic Halévy, themselves experienced librettists (for both Bizet and Offenbach) and masters of this kind of idiom. The director of the Theater an der Wien, Max Steiner, who had been instrumental in encouraging Strauss in his operatic efforts, then commissioned the conductor and librettist Richard Genée and the playwright Carl Haffner to turn the French farce into a German libretto. It was this he handed over to Strauss. As befits its origins, the twists and turns of the plot are exceptionally complicated. Almost everyone appears in some disguise or another. Mistaken identities — whether engineered or not — abound, and there are the prototypical characters and
22 DIE FLEDERMAUS
the standard tricks of such farces: the obligatory servant girl, the lawyer, the drunk, and theme of the wronged lover and the subsequent revenge, to name but a few. The events in the prison in Act III are the stuff of which French farces are made, as the main protagonists appear in turn (some of them with assumed identities), characters end up in the wrong cells, and while some of the deceptions and misunderstandings are unraveled, others are niftily explained away. The basic premise, though, is straightforward: the plethora of deceits, benign or otherwise, that allow liaisons, flirtations or simply the thought of such delights. This is epitomized in Act II, when at the ball Eisenstein decides on the conquest of a beautiful masked Hungarian countess. He uses his standard seduction method — his chiming watch — but she, of course, is really his wife, and ends up with the watch; evidence of his infidelity. The trick is that we, the audience, know far more about these deceits than the characters themselves, and it is this knowledge that gives the twists and turns of the plot such piquancy. All this is grist to Strauss’ mill; the very lightness with which these events are treated suits the zest for life that so informs his music. For a waltz king, it is also ideal that the central act is a ball, where the famous waltz that is the principal thematic idea of the operetta can be integrated into the action as a genuine dance. And the waltz has — and certainly had to contemporaries — a feeling of loosened moral restraints, well suited to Vienna’s contemporary ethos and to the flirtatious core of the operetta. Indeed, Wagner called the first Strauss waltzes that he heard (by Johann Strauss I) “a more powerful drug than alcohol,” and the Viennese would probably have agreed. That waltz first appears in the overture, one of the best known in all musical literature. The first three tunes in the overture come from Act III; the waltz follows, succeeded by a reference to Eisenstein’s farewell before going to prison. But the brilliance of the overture and its waltz should not disguise the quality of much of the rest of the music, notably Roselinde’s Hungarian czárdás in Act II (establishing her “Hungarian” credentials), which, as Ernest Newman pointed out, showed what Strauss might have done had he turned to serious opera.
by Mark Morris Die Fledermaus ran for only 16 performances at the Theater an der Wien, not, as is popularly supposed, because it was a failure, but because the theatre had been pre-booked after that. It was then a huge success in Berlin, returned in triumph for a revival in Vienna, and by 1880 it had already played in over 170 German houses. From then on Strauss’ operettas received the international acclaim that had been given to his waltzes. Die Fledermaus reached London in 1876 and the Met in 1905; the Americans have had a predilection for changing its title (including Champagne Sec and Rosalinda), while the French either substituted a new libretto or reverted to the original French names for its characters. It was first filmed as a silent
movie in 1917, and since then has received at least 15 film and TV versions, from the Soviet Union to Australia. It is a measure of the work’s success that it currently sits at no. 11 in Operabase’s most performed operas worldwide, just behind Rigoletto, and just ahead of Aida. Die Fledermaus was perhaps best summed up by the conductor Bruno Walter, in words that could equally apply to the Champagne that is evoked at the very end of the opera. “Beauty without heaviness, levity without vulgarity, gaiety without frivolity, and a strange mixture of exuberant musical richness and popular simplicity.” No wonder the Viennese loved it.
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Artists’
PROFILES Allison Grant
Peter Dala
Director/Choreographer
Conductor/Chorusmaster Peter has worked for the Basel Ballet, Zurich Ballet, the Hungarian State Opera and the National Ballet of Hungary, with performances in Monte Carlo, Germany, Israel, New York, Spain and China. Highlights include performances of Don Giovanni and the ballet A Midsummer Night’s Dream at the Singapore and Hong Kong Festival of Arts. As Edmonton Opera’s chorusmaster from 1996 to 2012 and resident conductor from 2001 to 2012, he prepared the chorus for roughly 40 operas and conducted numerous mainstage productions. In 2001 he began his affiliation with Alberta Ballet and was appointed music director in 2005. Upcoming performances include a recital with tenor Benjamin Butterfield for the Edmonton Recital Society and Alberta Ballet’s Giselle.
Allison Grant directed the recent highly acclaimed production of Falstaff at Opera Hamilton. This past season she has choreographed Die Fledermaus (Canadian Opera Company) and Pirates of Penzance (Vancouver Opera). Other directing highlights include Vancouver Opera’s Roméo et Juliette, Die Zauberflöte (Sarasota Opera), Don Giovanni (Opera Hamilton), Semele (Canadian Opera Company), L’italiana in Algeri (L’Opéra de Montréal) and Cosí fan tutte (Vancouver Opera). As a choreographer her work has been seen in The Merry Widow for opera companies in Hawaii, Kentucky and Hamilton, in Don Giovanni, The Queen of Spades, Dido and Aeneas and Eugene Onegin (Canadian Opera Company), and in numerous University Opera productions. At Theatre Athena, where she was artistic director, she directed Master Class, Private Lives and the brilliant play Bach at Leipzig. sponsored by Francis Price & Marguerite Trussler
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Artists’
PROFILES (in order of vocal appearance)
Gerald Thompson
Prince Orlofsky | countertenor Gerald Thompson’s engagements include the Royal Opera House Covent Garden, the Metropolitan Opera, San Francisco Opera, Teatro alla Scala, Bayerische Staatsoper, Canadian Opera Company, Pacific Opera Victoria, Lyric Opera of Chicago, Opera Barroca at the Teatro Arriaga Antzokia, Moscow State Philharmonic Society and the Musikfestspiele Potsdam Sanssouci, as well as an upcoming debut with Théâtre Royal de la Monnaie in Brussels. Thompson’s repertoire ranges from baroque to contemporary with performances of Cavalli’s La Calisto, Handel’s Giulio Cesare, Rodelinda, Flavio, Orlando and Teseo, Mozart’s La Finta Giadiniera, J. Strauss’s Die Fledermaus, Janáček’s The Cunning Little Vixen, Britten’s A Midsummer Night’s Dream, Ligeti’s Le Grand Macabre, Weisgall’s Esther and Ash’s The Golden Ticket.
Adam Fisher Alfred | tenor
Adam Fisher won glowing reviews for his 2013 debut with Opera Atelier as Pedrillo in Mozart’s Abduction from the Seraglio. A graduate of the University of British Columbia, Adam joined the Emerging Artists Program with Calgary Opera in 2010. Adam starred as Tom Rakewell at Music Academy of the West in Stravinsky’s The Rake’s Progress. Further roles include Tamino in The Magic Flute with Calgary’s Cowtown Opera and Raoul in Offenbach’s La Vie Parisienne with Toronto Operetta Theatre. Highlights in 2013/14 include Lieutenant Cable in South Pacific with Pacific Opera Victoria and Count Gustav in The Land of Smiles with Toronto Operetta Theatre.
Jacqueline Woodley Adele | soprano
A former member of the Canadian Opera Company Ensemble, Jacqueline Woodley recently starred as Milica, the bride, in the world premiere of Svadba – Wedding (Queen of Puddings Music Theatre) during the company’s 2011-13 American, Canadian and European tours. After her success as Papagena in the COC Ensemble production of Die Zauberflöte, she sang Iris in Handel’s Semele. Mainstage roles with the COC include the Page (Rigoletto), the Lace Seller (Death in Venice) and First Priestess (Iphigénie en Tauride) and covering Olympia (Les contes d’Hoffmann), Najade (Ariadne auf Naxos) and Amore (Orfeo ed Euridice). Other operatic highlights include Pamina (Die Zauberflöte), Lucy (The Telephone) and Miss Wordsworth (Albert Herring).
Betty Waynne Allison Rosalinde | soprano
Betty Waynne Allison is an alumna of the Canadian Opera Company Ensemble. In addition to leading assignments in Ensemble productions, she has covered and performed mainstage roles including Erste Dame (Die Zauberflöte), Donna Anna (Don Giovanni), Luisa Miller (Luisa Miller), Turnspit (Rusalka), Freia (Das Rheingold), Marguerite (Faust), Countess (Le nozze di Figaro), Tatyana (Eugene Onegin) and Amelia (Simon Boccanegra). She made her French debut in Metz as Alice in Falstaff and created the title role in Mary’s Wedding for its world premiere in Victoria. She made her U.S. debut in Milwaukee as the title role in Susannah. Concert stage performances include Galgenlieder à 3 (Queen of Puddings) and Brahms’ Requiem (Winnipeg Symphony and the Grand Philharmonic Choir).
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Artists’
PROFILES Gordon Gietz
Gabriel von Eisenstein | tenor Gordon Gietz created the role of Stingo in Sophie’s Choice (Covent Garden) and for the North American premiere in Washington, DC. He appeared multiple times with Opéra National de Paris and created the character of Yonas in the world premiere of Adriana Mater, a role he reprised at the Barbican for the British premiere. He made his La Scala debut as Chevalier in Dialogues des Carmélites and returned for A Midsummer Night’s Dream as Lysander, his debut role at Glyndebourne and the Gran Teatre del Liceu. Other highlights include Die Nase (Metropolitan Opera), Steva in Jenůfa (Madrid’s Teatro Real), Hoffmann in Marseille and Don José in Carmen (Montréal, Antwerp and Lille).
Aaron Ferguson Dr. Blind | tenor
Recent performances include Goro (Madama Butterfly, Opéra de Québec), Armide (Le Chevalier Danois, Glimmerglass Festival, Royal Opera of Versailles, Opera Atelier), Constable Locke (The Music Man, Royal Opera of Muscat), Monostatos in Die Zauberflöte (Opera Atelier, Opera Columbus, Penn State) and Blind in Die Fledermaus, Basilio/Curzio in Il nozze di Figaro, Nika Magadoff in The Consul, Borsa in Rigoletto, Spoletta in Tosca and Le Doyen in Cendrillon (Opéra de Montréal). Upcoming engagements include Euryale (Persée, Royal Opera of Versailles and Opera Atelier), Petit Jaques (Tailleterre, l’Opera de Limoges) and Basilio (Il nozze di Figaro, Ottawa Lyra).
Peter McGillivray Dr. Falke | baritone
Peter McGillivray was the winner of the 2003 CBC Young Performers Competition and won top prizes at both the Montreal International and the Queen Sonya of Norway singing competitions (2005). He has appeared numerous times with the Canadian Opera Company, as well as performances with orchestras in Vancouver, Calgary, Edmonton, Regina, Winnipeg, Windsor, London, Kitchener-Waterloo, Quebec City, Liverpool, Oslo, Duisburg and the National Arts Centre Orchestra. Peter joined the roster of the Metropolitan Opera in 2010 for productions of La Bohème and Capriccio. Other recent credits include performances with companies in Calgary, Victoria, Hamilton and Ottawa. With Toronto’s Tapestry New Opera, he starred in the premiere of Omar Daniel’s The Shadow and the 2012 world premiere of Shelter in Edmonton.
Edward Hanlon Frank | bass-baritone
Edward Hanlon is a 2010 Metropolitan Opera National Council Auditions semi-finalist and Lyric Opera of Chicago Ryan Opera Center finalist. Recent engagements include covering with the Lyric Opera of Chicago, performing with Michigan Opera Theatre, Virginia Opera, Ohio Light Opera, Winter Opera St. Louis, Toledo Opera and the Siena Music Festival in roles including Figaro (Le nozze di Figaro), Dick Deadeye (H.M.S. Pinafore), Masetto (Don Giovanni), Don Alhambra (The Gondoliers), Sid (La fanciulla del West), Count Ceprano (Rigoletto) and Pish-Tush (The Mikado). An alumnus of several young artist programs, Edward has performed with Des Moines Metro Opera, the Glimmerglass Festival, Ash Lawn Opera, Chautauqua Opera and Summer Opera Lyric Theatre. Edward has upcoming engagements with the Lincoln Center Theater, Toledo Opera, the Lyric Opera of Chicago and Opera Theatre St. Louis.
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Artists’
PROFILES Tanya Roberts
JULIEN ARNOLD
Tanya Roberts has performed over 30 opera and musical theatre roles in professional and academic arenas throughout North America, Europe and the Middle East. She recently made her solo debut with the Chicago Symphony Orchestra as a principal artist in the Very Special Promenades Concert Series and as the Soprano I cover in Bach’s Mass in B Minor. Recent highlights include Anna in The King & I and Gianetta in The Gondoliers (Ohio Light Opera Company), Gianetta in The Gondoliers (Gilbert & Sullivan Opera Company), Coffee Cantata and Faure’s Requiem (Salt Creek Chamber Orchestra), Vivaldi’s Gloria (Northeastern Illinois University) and Lucy in The Billy Goats Gruff (Motor City Lyric Opera). Tanya is in residence with the Lyric Opera of Chicago Chorus.
This is Julien’s debut with the Edmonton Opera. He has been acting, directing and teaching in Edmonton for approximately the last 24 years. His recent acting credits include A Christmas Carol, Spamalot, A Midsummer Night’s Dream, The Rocky Horror Picture Show, Beauty and the Beast and The Wizard of Oz (Citadel Theatre), King Lear and A Midsummer Night’s Dream (River City Shakespeare Festival), Angels on Horseback, The Ambassador’s Wives, Mother of the Year and Happy Toes (Teatro la Quindicina), and the titular role in A Picasso at last year’s Edmonton Fringe Festival. Julien is a graduate of the BFA acting program at the University of Alberta. He is also the Atlas Theatre founder at Holy Trinity Anglican Church in Strathcona.
Ida | soprano
Frosch
DIE FLEDERMAUS 33
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Artists’
PROFILES David Fraser Lighting Designer
Previous designs with the Edmonton Opera include Aida, Cavalleria Rusticana/I Pagliacci and Otello. As a Calgary-based artist, David works extensively across the country in theatre, dance and opera. His theatrical designs have been seen from the National Arts Centre in Ontario to the Vancouver Opera in British Columbia, while his designs in dance have been seen both nationally and internationally with choreographers Tania Alvarado and Pam Tzeng. He has been nominated for a Jessie Richardson Award, two Betty Mitchell Awards, and 10 Elizabeth Sterling Haynes Awards, and he has been the recipient twice for his designs.
Bobby Smale Sound Designer
Edmontonian Bobby Smale primarily works as a lighting and sound designer, but is also known as a production manager and technical director for theatre, live events and festivals. Selected credits include set and lighting design for Free Man on the Land (Azimuth Theatre), lighting design for Victor and Victoria’s Terrifying Tale of Terrible Things (Kill You Telelvision), sound design for The Mikado (Edmonton Opera), sound and media design for The Blue Light (Keyano Theatre), set and lighting design for A Grand Time at the Rapids and set design for The Scent of Compulsion (Teatro La Quindicina), and lighting and projection design for New Year’s Man of Steel and sound design for Love Song (Shadow Theatre).
Leanne Regehr Repetiteur
Leanne Regehr is currently based in Edmonton where she serves on the faculties of the University of Alberta and The King’s University College. She has performed in music centres across North America, most recently as the soloist in a live recording of Victor Davies’ Mennonite Piano Concerto with the Winnipeg Symphony Orchestra. Leanne has worked 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, a staff pianist for Sherrill Milnes’ VOICExperience Program in Florida, as well as a Coaching Fellow at the Aspen Music Festival. She is a soloist, vocal coach, recital partner, and adjudicator, as well as the accompanist for the Richard Eaton Singers.
Ha Neul Kim Stage Manager
The 2013/14 season is Ha Neul Kim’s 12th 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. Previously, she taught opera stage management at the University of Alberta.
ANNA DAVIDSON
Assistant Stage Manager Anna is excited to be working at the opera again! Previous Edmonton Opera credits include Salome, The Mikado, The Barber of Barrhead, Carmen and Eugene Onegin. In November 2012, she was the assistant stage manager for the Edmonton Opera’s co-production of Shelter with Tapestry New Opera. She has also worked as a stage manager for the Citadel Theatre, Northern Light Theatre, Shadow Theatre, Workshop West, Theatre Network, Concrete Theatre and L’Uni Theatre. Anna is a graduate of the theatre production program at MacEwan and the theatre performance program at Red Deer College.
John Raymond
Assistant Stage Manager John is thrilled to be working with Edmonton Opera. He has led the BFA stage management program at the U of A since 2004 and has stage managed all the first productions of Catalyst Theatre since 2006: Frankenstein, Nevermore, Hunchback, The Soul Collector and most recently the first staged workshop production of Vigilante at Keyano College. John has worked for many other prominent Canadian theatre companies including the Citadel Theatre, Canadian Stage, Theatre Calgary, Alberta Theatre Projects, Centaur Theatre and the Banff Centre for the Arts. He was the Citadel Theatre’s director of production from 1998 to 2004.
DIE FLEDERMAUS 37
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We’re investing in the next generation of performing artists, and banking on some entertaining returns. Through the RBC Emerging Artists Project, we’re committed to helping emerging performing artists develop their skills and bring their visions to life. That’s why we’re proud to support the Edmonton Opera which helps provide opportunities for up and coming artists to launch their careers, keeping the vitality of the arts industry alive.
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ALL-NEW 2014
valentine’s gala
Through one of Edmonton’s most important fundraising events, the Edmonton Opera and the CapitalCare Foundation are able to share the healing power of music, at the annual Valentine’s Gala. The Edmonton Opera Chorus’ repertoire spans not only operatic works, but they have another specialty up their sleeves: heartwarming wartime classics of hope and inspiration. That knowledge comes in handy when chorus members perform at the CapitalCare continuing care facilities in Edmonton — it not only brings smiles to many of the residents’ faces, but plenty of the residents (and even those with memory loss) still remember all the words. It’s a moment that is often recorded and shared during the Valentine’s Gala, of which both the Edmonton Opera and the CapitalCare Foundation are beneficiaries.
and the CapitalCare Foundation would like to sincerely thank Irving and Dianne for hosting this important fundraising event. Their dedication is also demonstrated in the details — planning for the event starts in August, to ensure every aspect from the stage set to the place settings is addressed. On Valentine’s Day, guests have an opportunity to mingle, enjoying drinks and an elegant dinner while experiencing the work of two great organizations through the soul-healing power of music.
The event, which began 15 years ago as a small gathering at the home of Irving and Dianne Kipnes, has since grown into a highly anticipated night out attracting more than 800 prominent Albertans.
The Valentine’s Gala raises approximately $300,000 annually for the Edmonton Opera and the CapitalCare Foundation. It is an extraordinary example of a unique partnership between two organizations in the arts and health sectors. In addition to all of the hands-on hard work, the couple generously supports the event with a matching grant of donations made that night, from the Dianne and Irving Kipnes Foundation.
It’s the tireless efforts of the Kipneses that has allowed the event to grow exponentially, and the staff and boards of both the Edmonton Opera
The gala takes place on the most romantic night of the year, and thanks to Irving and Dianne, it’s become an event where hundreds of Edmontonians show their love for the arts and appreciation for continuing care.
DIE FLEDERMAUS 43
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Like this opera, our Landmark homes are a monument to perfection.
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DIE FLEDERMAUS 47
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PLANNED GIVING by SHELLY K. CHAMASCHUK It takes a lifetime to build up an estate, and yet it seems little time, in comparison, is spent to determine what should happen with an estate after passing. Everyone is encouraged to put a will in place to ensure that the distribution of their estate is properly planned. A basic will can be done, leaving your estate to your family and those who matter to you. However, you may also wish to consider the ability to continue to give back to the community by leaving a charitable gift in your will. A charitable gift leaves money or other assets to those organizations which have given you joy, such as the opera. This would be such a wonderful legacy to you and a thoughtful way to give back on your way out. There is also a significant tax benefit to charitable gifts.
W
hen you include Edmonton Opera in your estate plans, you provide a foundation for great opera in Edmonton to future generations. If you wish to know more about giving to the opera, you are welcome to contact Mickey Melnyk, Stewardship Officer, at 780.392.8719. Shelly K. Chamaschuk is a partner with the law firm of Reynolds Mirth Richards and Farmer LLP who practises in the area of estate planning. Shelly can be reached at schamaschuk@rmrf.com or 780.497.3364.
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ERA for You 5 Minute OP
Delight in the music, warmth and story-telling of opera! Join Japanese-Canadians Naomi and her brother Stephen in a moving story of tolerance & patriotism during WWII. They prevail over adversity, bullying and racism to defend their identities as Canadians in this passionate opera for families.
PUBLIC PERFORMANCES • February 28 at 7 p.m. • March 1 at 11 a.m. & 2 p.m.
Stanley A. Milner Library Theatre, Edmonton TICKETS Tickets are available at TIX-on-the-SQUARE at 780.420.1757 or online at www.tixonthesquare.ca
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DIE FLEDERMAUS 51
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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 will be committed to renowned soprano Anne Sophie Duprels who will appear 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 will be 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.”
DIE FLEDERMAUS 55
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.
Creekwood Chappelle is one of southwest Edmonton’s newest communities. Located south of Ellerslie Road on 141st Street and Chappelle Drive, Creekwood features lush wetlands, expansive green space, extensive walkways and, bordering to the west, the Whitemud Creek ravine.
A wide range of home builders and styles ensure that you will find the perfect new home in Creekwood. Find out more about Creekwood Chappelle online at creekwoodchappelle.com.
Peace, quiet and serenity are apparent the moment you arrive in Creekwood. Currently building into Phase II, Creekwood will feature four landscaped and naturalized wetlands, access to the Whitemud Creek trail system, a natural tree stand adjacent to the creek, plus numerous viewpoints and parks. The trail system through Creekwood’s parks, ponds and green spaces will connect to form part of the 10 kilometres of trails throughout the entire Chappelle area. Free from the traffic and intensity of the downtown core, Creekwood is remarkably close to major shopping and commercial amenities. The Anthony Henday and Calgary Trail roadways are only minutes away, and residents are within 10 minutes of South Edmonton Common and only five minutes from the Currents of Windermere. A number of shops, grocery stores and gas stations can be found along Ellerslie Road at 111th Street.
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58 DIE FLEDERMAUS
&
edmonton opera Chorus SOPRANOs
Mezzo-sopranos
TENORs
Bass/Baritones
Natasha Da Fonseca Tara Faria Camille Holland Jill Hoogewoonink Betty Kolodziej Christina O’Dell Kailee Phillips Kirstin Piehl Glynis Price
Seang Youn Choi Linda Farrah-Basford Krista-Marie Lessard Patrece Maluzynsky Ann Parry Cristina Weiheimer Laura Winton Karen Zabinski
Adam Arnold Garreth Borgstrom Taylor Fawcett Mathew Glenn Tom Hall Robert Rock Daniel Rowley
John Adria Derek Beaton Ivan Fedyna Hans Forbrich Andrew Hladyshevsky Nick Horobec Greg Maluzynsky Andrae Marchak Francis Price John Yun
SUPERNUMERARIES Adam Clarke Adrian Howard Howard Kowalchuk David Sykes
edmonton symphony orchestra William Eddins, Music Director Violin 1
Viola
flute
Trombone
Robert Uchida Eric Buchmann Virginie Gagné Broderyck Olson Richard Caldwell Joanna Ciapka-Sangster Alissa Cheung Anna Kozak Aiyana Anderson-Howatt Neda Yamach
Stefan Jungkind Charles Pilon Clayton Leung Jeannette Comeau Mikiko Kohjitani Andrew Bacon
Elizabeth Faulkner Shelley Younge
John McPherson Kathryn Macintosh
Oboe
Bass Trombone
Lidia Khaner Paul Schieman
Christopher Taylor
cello
clarinet
Colin Ryan Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin Julie Amundsen
Julianne Scott David Quinn
Barry Nemish
bass
horn
Jan Urke John Taylor Janice Quinn Rhonda Taft Rob Aldridge
Allene Hackleman Megan Evans Gerald Onciul Donald Plumb
Violin 2 Dianne New Susan Flook Heather Bergen Zoë Sellers Robert Hryciw Tatiana Warszynski Murray Vaasjo Alison Stewart
bassoon Edith Stacey Diane Persson
tIMPANI Percussion Brian Jones John McCormick Brian Thurgood
Harp Nora Bumanis
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Robin Doyon Bill Dimmer
Librarian Sheila Jones
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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 2013 / 2014 season.
for everything!
8665 McKenney Avenue, St. Albert, AB 780-419-3582 • www.seasonsgiftshop.ca
edmonton opera board of directors 2013-2014 season
Richard Cook, Chair Francis Price, Vice Chair Ken Keenleyside, Treasurer Irv Kipnes, Past Chair Robert Bessette John Cameron Mary Clonfero
Craig Corbett Bertrand Malo Ashif Mawji
Melanie Nakatsui Bernie Robitaille Robert Rock
Katie Soles Stella Varvis
Irving Guttman, Director Emeritus
edmonton opera staff Executive Tim Yakimec, General Manager
Finance Debra King, Interim CFO Serene Yau, Senior Bookkeeper
Community Relations Jelena Bojic, Director of Community Relations & Assistant General Manager Rebecca Anderson, Development & Outreach Coordinator Jennifer Hinnell, Grants Officer Cameron MacRae, Creative Manager Mickey Melnyk, Stewardship Officer Catherine Szabo, Communications Coordinator
Box Office Tara-Lee LaRose, Box Office Manager Tonya Rae Chrystian, Box Office Supervisor
Artistic Administration Ha Neul Kim, Company Manager & Stage Manager
Production and technical Clayton Rodney, Production & Technical Director Greg Brown, Head Scenic Carpenter & Shop Supervisor Deanna Finnman, Head of Wardrobe & Resident Wardrobe Designer Chantel Fortin, Head of Properties & Scenic Art Kathy Cooper, Assistant Head Scenic Carpenter
Judith Darough, Cutter Brenda Inglis, Wardrobe, First Assistant Michelle Warren, Wardrobe First Stitcher Catherine Bamsey, Wardrobe Tailor Kathleen Mulder, Wardrobe Dyer Julie Davie, Wardrobe Stitcher Kayla Fulton, Wardrobe Stitcher Kathryn Neuman, Wardrobe Stitcher Danine Regenwetter, Wardrobe Stitcher Genevieve Savard, Wardrobe Stitcher Ava Siemens, Wardrobe Stitcher
Production and technical Stage Crew Danine Regenwetter, Head Wardrobe Dresser Kathryn Neuman, Wardrobe Dresser Michael Devanney, Head of Wigs & Hair Judy Morley, Wigs & Hair Cathy Nicoll, Head of Make-up Noreen Jani, Assistant Head Make-up Chantel Fortin, Head Properties Katie Hartfeil, Assistant Head Properties Geoff Bacchus, Head Stage Carpenter Greg Brown, Assistant Head Stage Carpenter Al Kliss, Head Fly Alison Hardy, Head Electrician Joseph Race, Assistant Head Electrician Robert Smale, Head Audio Jacquie Dawkins, Supertitle Cuer
Stage crew courtesy of I.A.T.S.E. Local 210
DIE FLEDERMAUS 63
With your help, our families and friends in Edmonton and across northern Alberta will have the support they need to face the life-changing effects of cancer. Wellspring’s programs will improve quality of life and reduce costs to the medical system.
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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Edmonton Opera Magazine is published four times per year by Playhouse Publications Ltd. The contents of Edmonton Opera Magazine may not be reproduced in whole or in part without the written permission of the publisher. All rights reserved by Playhouse Publications Ltd.
Inquiries should be made to: Playhouse Publications Ltd. • 1200 Bell Tower 10104-103 Ave. Edmonton, Alberta T5J OH8 Ph: 780-423-5834 • Fax: 780-413-6185 • www.playhousepublications.ca
PLAYHOUSE PUBLICATIONS LTD. President & Publisher: Rob Suggitt • Vice President: Stephen Kathnelson Art Director & Designer: Christine Kucher • Advertising Sales: Barry Powis, Kerry Duperron • Administration: Suzanne Peacock Edmonton Opera Magazine is a product of Playhouse Publications Ltd., an affiliate of Suggitt Group Ltd. President & CEO: Tom Suggitt • President & CFO: Rob Suggitt
the Art of Advertising DIE FLEDERMAUS 65
Feb. 14, 2014 The annual Valentine’s Gala supports both the CapitalCare Foundation and the Edmonton Opera. March 12, 2014 Complimentary screening of Memoirs of a Geisha, as part of the EO Film Series at the Metro Cinema’s Garneau Theatre. Starts at 7 p.m. March 19, 2014 Understand the context of Madama Butterfly with an informative, complimentary discussion at Opera 101, 7 p.m. at the Art Gallery of Alberta. March 23, 2014 Enjoy great food at the Edmonton Petroleum Club, followed by intimate recitals by the artists of Madama Butterfly during Opera Brunch. March 24, 2014 The Edmonton Opera and the Edmonton Symphony Orchestra present No Tenors Allowed, March 24, at 7:30 p.m. at the Winspear Centre. This performance features baritones Gordon Bintner, Elliot Madore and Philippe Sly, the EO Chorus and the ESO. Tickets available through edmontonsymphony.com. April 3, 2014 The education dress rehearsal allows students to experience opera firsthand. This rehearsal starts at 7 p.m., and teachers can contact education@edmontonopera.com to arrange tickets. April 5, 8 & 10, 2014 The Edmonton Opera presents Madama Butterfly, the same opera that opened the first season 50 years ago. June 12, 2014 The 2014 PCL Golf Classic will be held on June 12 at the Glendale Golf and Country Club. June 20, 2014
Celebrate the summer solstice during Opera al Fresco, with open-air performances and great food and wine at the Devonian Botanic Garden.
For more information or to purchase tickets to any of these events please call 780.429.1000 or visit edmontonopera.com. 66 DIE FLEDERMAUS
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