Edmonton Opera program - Lucia di Lammermoor

SPRING 2015

2014/15 SEASON SPONSORS

LUCIA’S LIBATIONS

LOCAL RESTAURANTS CREATE OPERA COCKTAILS

EPIC SCANDALS

A LOOK AT THE 2015/16 SEASON

OPERA AL FRESCO

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Spring 2015 Cover Photo: Robert F. Reynolds, Seattle Opera.

4 Message from the Director

22 Lucia’s Libations

6 Partners and Sponsors

25 Artists’ Profiles

9 Sustainability Fund

11 Director’s Circle

33 Edmonton Opera Chorus and Edmonton Symphony Orchestra

12 Friends of Edmonton Opera

15 Endowment Fund

17 Composer Bio

contents

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

36 Opera al Fresco

40 Epic Scandals: 2015/16 Season

45 Rob Hood Fund

49 Edmonton Opera Board and Staff

50 Upcoming Events

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GOVERNMENT & FOUNDATION SUPPORT

Message from the director It sounds like a great setup for one of those classic jokes: “A Welshman, an American, a Korean and a whole bunch of Canadians walk into a bar, and … .” Except it’s not a bar, and there’s nary a joke to be found in Lucia di Lammermoor. That said, we’re still a wildly disparate group who has gathered in a rehearsal hall for these past few weeks in order to bring you this remarkable opera you’ve joined us for this evening.

period of several months, and the Romeo and Juliet story is focused on the tragic Lucia, who falls in love with a man from the wrong household, but is forced to marry another.

For many, up there in the Jube’s rehearsal space, this is their first Lucia (mine too!), and the process of putting this show together has been an exciting and thrilling experience. While there may not be a whole lot of laughter onstage, we certainly have had a whole lot of fun in rehearsal, and to be reunited with the likes of Jason Howard, Simone Osborne and the two Bobs — Breault and Tweten — has really made this a dream cast here in Edmonton.

What an opera it is! One of the greatest privileges and pleasures of working in this crazy business is the joy of hearing this extraordinary music hour after hour, day after day, in the rehearsal hall, with the singing provided by the fantastic artists selected by Edmonton Opera. While the entire piece is filled with rich and memorable music, Lucia di Lammermoor is noteworthy, of course, for “the most famous mad scene in all of opera,” and what a mountain this piece is for any soprano to climb. It really excites me to return to Edmonton Opera for Simone Osborne’s first Lucia. Most music historians agree that it was the legendary Australian soprano, Dame Nellie Melba, who introduced the now-legendary extended cadenza in the middle of the mad scene, and when Simone has her incredible highwire vocal act, her “anything you can play I can sing higher” competition with the solo flute — well, it reminds me just why I am so happy to be working in opera.

Donizetti’s tragic masterpiece premiered exactly 180 years ago in Naples, and has been a staple of the world operatic repertoire ever since. And thank goodness he wrote the opera — in preparation for rehearsals, I forced myself to read Sir Walter Scott’s The Bride of Lammermoor, the 1819 novel upon which the opera is based. Forced myself. And loathed it. For my money, Donizetti’s Lucia is one of those fortuitous adaptations which improves (infinitely, with apologies to all those English majors out there) on the original novel. The opera compresses the long-simmering feud between the Ashtons and the Ravenwoods, two old Scottish families, to a

It is the perfect stuff of which opera is made, and Donizetti’s magnificent and hugely popular version of the story has very clearly left the largely forgotten Scott novel in the dust.

Enjoy.

– Brian Deedrick

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PARTNERS

and

SPONSORS

SEASON SPONSORS

The Rob Hood Fund Production Sponsors the barber of seville

the magic flute

Francis Price & Marguerite Trussler

Lucia di Lammermoor

Shelley & Guy Scott Family Foundation opening night sponsor

opening night sponsor

Jim & Sharon Brown Season Supertitles Sponsor

Emerging Artist Sponsors

Gold Partners

SPONSORS

media Supporters

6 LUCIA DI LAMMERMOOR

Official Supporters

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Thank you to Pieces of the Past for the generous loan of the heirloom table that appears on the set of Lucia di Lammermoor.

The Edmonton Opera gratefully acknowledges the Kucey Dental Group, who offers complimentary dental services for EO artists, and Dr. Mat Rose, who offers medical services for EO artists.

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.

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LUCIA DI LAMMERMOOR 7

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We know our artists help shape and grow our community, now and in the future. That’s why ATB Financial celebrates local art, history and culture, fostering creativity in Alberta and beyond. atb.com

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(Premiere Circle) We wish to thank the following individuals and corporations who have committed to Edmonton Opera’s sustainability fund.

Each of the following members of the Sustainability Fund has committed a minimum of $50,000 over five years.

Monica & Jim Allen Al-Terra Engineering Robert & Michelle Bessette Kevin & Penny Birkholz Jim & Sharon Brown John Cameron Drs. Carol & David Cass Clark Builders Richard S. Cook Judy & John Cosco Mark & Nancy Heule Laurence Jewell Dianne Kipnes Irving Kipnes Ledcor Group of Companies

Ashif & Zainul Mawji Phil Milroy & Jane Russell Dr. Thomas & Melanie Nakatsui Jack & Esther Ondrack 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

The Sustainability Fund will use 50% of the funds to support operations and the other 50% is to restore working capital and future reserves for Edmonton Opera.

Edmonton Opera will endeavour to expand the Sustainability Fund with an immediate goal of 50 participants and a longer term goal of 100.

For more information on the Sustainability Fund, please contact the Program Concierge, Gwen Horvath, at gwen.horvath@edmontonopera.com or at 780.392.7837.

LUCIA DI LAMMERMOOR 9

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Edmonton Opera director’s circle 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.

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 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 Judy & John Cosco Shelley & Guy Scott Family Foundation

MaestroS $25,000 C.J. Woods, FCA $15,000+ Andy & Marianne Elder $10,000+ Allard Foundation Ltd. Arrow Engineering The Durstling Family Trust Russell M. & Marjorie Purdy Weber Motors LEADERS $6,000+ Larry & Ellen Eberlein Frederic & Alma Gojmerac Alan Rose & Judy Schroder Ed Wiebe & Marcia Johnson $5,000+ General Recycling Industries Ltd. Heritage Insurance & Consulting Ltd. Overhead Door Co. of Edmonton Steel-Craft Door Prod. Ltd. Eira Spaner Dr. Oksana Suchowersky TD Canada Trust Chris & Vivian Varvis PATRONS $3,000+ Branko & Jasna Calic Fath Group/O’Hanlon Paving Jeffrey Jansen Dr. Christine Kyriakides Steven & Day LePoole Judy & Stuart Mackay Bertrand Malo Laurel McKay Arliss Miller

BenefactorS $1,750-$2,999 Tricia Abbott Justice Darlene Acton Pauline Alakija James Archibald & Heidi Christoph Rhonda Baker Bruce & Carol Bentley Douglas K. Bingham & Sheila Janki-Bingham Jennifer Brown David & Patricia Cassie CBRE Ltd. Dr. Mary Chisholm Marian Clarke Elaine Coachman Conroy Ross Partners Joseph & Pat Fernando Hans & Susanne Forbrich Peter & Astrid Griep Linda Hamilton Dr. Karen & Pam Hofmann HUB International Canada West Brian Kucey & Elena Hernandez-Kucey Jill Konkin Igor & Galia Kwetny Joan Lopatka & Bill Rutledge Hilliard & Nancy Macbeth Stephen & Lynn Mandel Rod & Heleen McLeod Michael & Mariette Meier Ken & Gerda Miller Neil & Susan Miller Risha Milo John Oberg Eleanor Olszewski Aline Pratch Dr. Leonard Ratzlaff James E. & Vivian Redmond Tulane Rollingher Margaret Slate | Slate Personnel David Steer & Larissa Whiting Harold & Kay Veale Peter & Joyce Walton Wawanesa Dr. P.J. White & Patty Whiting Robert A. Wilson Paola Zanuttini Gerhard & Inge Zmatlo LUCIA DI LAMMERMOOR 11

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12 LUCIA DI LAMMERMOOR

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Donations made in memory of Howard Irving: Kathryn Buchanan J.E. Cote Joseph & Pat Fernando

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In Memory of Patricia M. Paone: Glenn Paone

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In Honour of Rita Allen: Margaret Friedman

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, Ernie LeMessurier, Dr. David Cook, and in honour of Dianne and Irving Kipnes.

Sincere thanks go to those 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 March 10, 2015, 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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Invitations to each Sitzprobe rehearsal

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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 780.392.8719 for more information about becoming a DC member.

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LUCIA DI LAMMERMOOR 13

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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.

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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.

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

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 Jennifer Brown John Cameron 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 The Dianne & Irving Kipnes Foundation 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 Dr. Thomas & Melanie Nakatsui 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

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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.

LUCIA DI LAMMERMOOR 15

Edmonton Opera presents

lucia di lammermoor April 18, 21 & 23, 2015 Production sponsored by the Shelley & Guy Scott Family Foundation Considered one of the greatest bel canto opera composers alongside Rossini and Bellini, Gaetano Donizetti would be one of the greatest influences on the operas that Verdi would eventually write.

Born Domenico Gaetano Maria Donizetti on Nov. 29, 1797, in Bergamo, Italy, he was the youngest of three sons in a working-class family.

His music education included studying under Simon Mayr and later Padre Mattei, in Bologna. Donizetti’s father wanted him to return to Bergamo to teach music, but Donizetti didn’t like that idea and instead enlisted in the army.

His first two operas, composed while enlisted, were great successes, and after the success of his second opera, he was discharged and exempted from further service so he could compose full time.

Even though Donizetti’s bel canto works are widely recognized, he wrote for all styles of opera, in addition to composing 16 symphonies, 19 quartets, 193 songs, 45 duets, three oratorios and 28 cantatas. His early operas were usually written for the talents of a particular singer, but as he matured, his compositions focused on building and reaching dramatic heights.

Starting in 1822, he worked in Naples for 16 years, where he produced operas at a rapid pace; usually three or four per year.

Donizetti enjoyed a successful professional life, although his personal life saw more tragedy — his wife, Virginia Vasselli, died in 1837 during a cholera outbreak, and none of their three children survived more than a few days of infancy.

Later in his life, he spent some time in Paris and Vienna, but by 1845, he had become quite ill. He was placed in a French sanatorium for 17 months before being transferred to Bergamo (by this point, he was paralyzed, disorientated and rarely spoke).

He died on April 8, 1848, in Bergamo, and was buried in the Valtesse cemetery. Late in the 19th century, his body was moved to Bergamo’s Basilica of Santa Maria Maggiore.

Music by Gaetano Donizetti Libretto by Salvadore Cammarano Premiere: Sept. 26, 1835

Conductor Director

Robert Tweten Brian Deedrick

The Cast

Normanno Enrico Ashton Raimondo Bidebent Lucia Alisa Edgardo Arturo Bucklaw

Adam Fisher Jason Howard Giles Tomkins Simone Osborne Megan Latham Robert Breault Robert Clark

with members of the Edmonton Opera Chorus and Supers and the Edmonton Symphony Orchestra

Lighting Designer Set Designer Scenery provided by Costume Designer Costumes executed by Chorusmaster & Repetiteur Stage Manager Assistant Stage Manager Assistant Stage Manager Apprentice Assistant Stage Manager

David Fraser Robert Dahlstrom Seattle Opera Deborah Trout Seattle Opera Costume Shop Peter Dala Ha Neul Kim Anna Davidson Gina Moe Feng Yi (Mona) Jiang

Supertitles created by Tessa Turgeon for Pacific Opera Victoria There will be one 20-minute intermission between Acts 2 and 3.

The performance is approximately 2 hours and 55 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.

LUCIA DI LAMMERMOOR 17

SYNOPSIS

by Stephan Bonfield

BACKGROUND

Act II

The Scottish families of Lammermoor and Ravenswood are in a longstanding blood feud. Although

Scene 1: In Lammermoor Castle, Enrico and Normanno

Enrico has taken land and kinsmen from his rival Edgardo (Edgar of Ravenswood, the last of his line), Enrico has entangled himself with the wrong political crowd, associated with plotting against the king. Enrico must restore his family to royal favour, and hatches a plan to marry his sister Lucia (Lucy Ashton) to Arturo (Lord Arthur Bucklaw).

Enrico does not know that Lucia and Edgardo are secretly in love and that she has been meeting Edgardo for midnight assignations.

However, when Enrico is told of their illicit love, he vows to expose Edgardo as unfaithful to Lucia via a forged letter claiming that Edgardo is promised to another and not Lucia.

Act I Scene 1: In a grove near Lammermoor Castle, Enrico and his men prepare to search for a mysterious trespasser. Normanno, captain of the guard, meets up with Enrico, who despairs that Lucia refuses to marry Arturo. Raimondo, Lucia’s teacher, speculates that Lucia is still aggrieved over her mother’s recent death and therefore cannot be in love, however Normanno discloses that Lucia has been keeping assignations with an unknown hunter who had saved her from a bull. Normanno suspects the stranger is Edgardo. When his suspicions are confirmed by huntsmen who report that a falconer had seen Edgardo meeting Lucia at the castle, the volatile Enrico becomes enraged.

Scene 2: Meanwhile, Lucia awaits a rendezvous with Edgardo near a fountain by her mother’s tomb. She relates a story to her nursemaid Alisa of a young woman, killed by a Ravenswood ancestor, whose ghost now haunts the fountain. She sings of the ghost’s spooky foreboding that her love with Edgardo will end tragically. Edgardo arrives and explains he must go to France, but before he leaves he wishes to bury the hatchet with Enrico so that Edgardo and Lucia may marry. Lucia fears her brother’s temper and that peace between the families is impossible. Instead, she begs Edgardo to keep their love a secret. Edgardo reluctantly agrees and the lovers take vows, exchange rings and depart.

plot to force Lucia to marry Arturo. Lucia remains defiant, albeit emotionally overburdened. Enrico shows her the forged letter, supposedly from Edgardo, proving that he is pledged to marry another. Lucia is completely crushed and wishes for death. Enrico forcefully pleas with her to marry Arturo and thereby rescue the family — and Enrico — from a desperate political situation. After Enrico leaves, Raimondo weakens Lucia further, persuading her to a marriage she plainly does not want, even when told it is her duty to do so out of respect for the memory of her mother. She relents.

Scene 2: Guests arrive at Lammermoor Hall. Arturo promises to restore the prestige of the Lammermoor family. Enrico explains away Lucia’s disaffected behaviour toward Arturo as grief over her mother’s death. Arturo signs the marriage contract, followed by a despairing Lucia. Unexpectedly, Edgardo has returned early and now bursts in to claim Lucia, but seeing Lucia’s signature on the marriage contract, he curses her and demands in violent anger that she return his ring. He rushes out as Lucia collapses, now completely psychologically broken. Enrico demands vengeance.

Act III Scene 1: Edgardo broods in his ruined estate’s Wolf’s Crag tower amid a wild storm. Enrico arrives to confront him and they sing a duet swearing to kill the other, agreeing to settle their vendetta once and for all in a duel among the Ravenswood family graves.

Scene 2: Raimondo interrupts the wedding festival to announce that Lucia has descended into a horrifying madness, stabbing and killing Arturo in the bridal chamber. Lucia enters, utterly disheveled, unaware that her bridal dress is covered in blood. She imagines herself married to Edgardo. Enrico rushes in angrily, but is stopped in his tracks by the horrible spectacle.

Believing that she is in heaven with her beloved, Lucia collapses.

Scene 3: Edgardo awaits his duel with Enrico, hoping he will fall to his enemy. Guests leaving the castle tell Edgardo that Lucia called his name. Raimondo arrives and tells Edgardo of Lucia’s tragic end. Edgardo, full of remorse, stabs himself and dies.

50/50 tickets can be purchased in the main lobby and on the first balcony prior to the performance and during intermission.

The winning ticket will be displayed at the end of the performance and at the Jubilee exit doors. Thank you for your support of the arts in Edmonton!

Those attending the Thursday night performance 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.

There has scarcely been a moment when Donizetti’s Lucia di Lammermoor hasn’t been heard somewhere in Italy since its first performance in Naples in 1835. In Vienna, it was heard 286 times between 1837 and 1870.

On Oct. 1, 1839, it played in French in one Paris opera house and in Italian in another. It had racked up 200 performances at Covent Garden by 1902. It was the second opera to be heard at the Met. From 2008 to 2013 there were 185 different productions worldwide. In other words, it is something of an operatic phenomenon.

If Donizetti is now commonly associated with such comic delights as L’elisir d’amore (1832), and, later in his career, La fille du régiment (1840), he also regularly produced more serious works. Anna Bolena (1830) scored an enormous success at its premiere, and the now forgotten Parisina (1833), based on Byron, remained Donizetti’s own favourite among his operas.

Maria Stuarda, which Edmonton Opera will present next season, was premiered only months after Lucia di Lammermoor.

His great rival in serious bel canto opera was, of course, Bellini, though that rivalry was on Bellini’s side rather than Donizetti’s.

In general, the emotions and individual scenes are more heightened in Bellini, the vocal fireworks more grandiose, while Donizetti prefers the more continuous lyrical flow that is so evident in his comic operas. Both represent an Italian reflection of the Romantic movement that was sweeping Europe with its dark, tragic, emotional love stories.

Bellini’s early death in 1835 is often said to have inspired Lucia, but in fact Donizetti did not hear the news until a few days after the first performance of Lucia — a premiere that had been plagued by problems. For by the 1834/35 season, the Naples opera scene was in chaos. The major theatre impresario had resigned, and a bungling committee of aristocrats, the Società d’Industria e Belle Arti, was running the opera houses.

The society had contracted the 38-year-old Donizetti to write three operas; the committee itself was to choose the plots and librettists, subject to the approval of the composer.

The first opera was due in July 1835, and the completed libretto was supposed to be given to Donizetti no later than the beginning of March. Donizetti agreed to the young Salvatore Cammarano as librettist, but by the end of May the committee

20 LUCIA DI LAMMERMOOR

still hadn’t given the go-ahead for the actual writing of the opera. Donizetti threatened to invoke his contract and withdraw; matters were sorted out, and Cammarano and Donizetti got to work. Between the end of May and July 6 they had written the entire opera in the astonishingly short space of about six weeks.

The chosen subject was Walter Scott’s 1819 novel The Bride of Lammermoor. It was already a popular source, with operas

by Michele Carafa (Paris, 1829), Luigi Rieschi (Trieste, 1831), Giuseppe Bornaccini (Venice, 1833), Alberto Mazzucato (Padua, 1834), and the Danish composer Ivar Frederik Bredal, to a Hans Christian Andersen libretto (Copenhagen, 1832). Donizetti’s version, then, was last but not least, eclipsing the lot.

The combination of source, librettist and composer was fortuitous. Scott provided those staples of the Romantic melodrama: the settings of the mountain groves, the park with a fountain, the dank vaulted castle, the graveyard. His are the characters that still haunt romances today: the stern unbending deceitful lord, the lover reviled by the family, and that epitome of the Victorian psychology, the woman whose own personality and desires are so repressed by others that she goes mad.

Cammarano’s Italian reduction of the novel is efficient, brisk and direct. The degree of melodramatic Romantic emotion exactly suited Donizetti’s temperament, and Cammarano recognized that Scott’s dark literary melodrama would withstand melodiousness. Donizetti provided the continuous flow of melody, so varied, so individually suited to the dramatic situations — compare, for example, the flowing lines of the duet in Act I, Scene 5, with the dramatic tunefulness of the duet in Act II, Scene 2. The greatest glory of the opera, the Act II sextet as Lucia signs the marriage contract and Edgardo suddenly appears, was entirely the product of librettist and composer.

But first the opera had to be performed, and that premiere had been delayed yet again. By August 1835, Lucia still wasn’t in rehearsal. The King of Naples stepped in, sacked the directors of the Società, and appointed new ones. There was a further crisis in September, as the singers at the Teatro di San Carlo had not yet been paid (neither had Donizetti), but that, too, was solved.

Lucia finally had its triumphant first performance on Sept. 26, the audience reportedly in tears for much of the time.

Donizetti went on to complete another 23 operas, and Cammarano 35 more librettos, including seven more with Donizetti, and four for Verdi (he died while writing Il Trovatore). Scott had died in 1832, and so never saw Donizetti’s opera, but it is safe to say that there are more people walking the streets today who have seen Lucia di Lammermoor than have read the novel from which it was drawn.

No wonder opera singers like it. For sopranos, the Mad Scene is an unparalleled opportunity for the art of singing-acting (immortalized

by Maria Callas) or for the art of bel canto (immortalized by Joan Sutherland) or for both (immortalized by Lily Pons). Tenors have the stage virtually to themselves in the last scene, and one can’t say that of many Italian operas. And all baritones find the role of Enrico gratifying.

None of that, though, quite explains the opera’s abiding power.

But the poet W.H. Auden perhaps did: “There, poor thing, she’s parted from her boyfriend, she’s gone mad, she’s stabbed her husband. And then you see her brought down; she’s in the coffin; she’s dead. But you’re not really sorry for her. No, five minutes ago she was singing D above high C. And I can only say if that’s not like what the world is like, it’s what the world ought to be like.”

Quite.

LUCIA DI LAMMERMOOR 21

It’s a Romeo and Juliet-like tale; an Italian opera set in Scotland. Drawing from those inspirations and more, three restaurants have created Lucia’s Libations — opera-inspired cocktails for Lucia di Lammermoor — available until April 23.

“Opera pairs well with many things, food and drink included,” said Tim Yakimec, Edmonton Opera’s general manager and artistic director, adding that this is a first-time project for Edmonton Opera (working with Yelp Edmonton).

“So presenting opera as a cocktail makes sense — it reaches a new audience to share opera with in Edmonton and Lucia di Lammermoor in particular, but we also get to build relationships with local restaurants and challenge the creativity of the culinary community.”

Reflecting various aspects of Donizetti’s haunting opera, &27, BLVD and Mercer Tavern have created cocktails named Lucia’s Loch (Janice Bochon), Lucia’s Royal Blue Hour on the Moors (Brendan Brewster) and the Fat Lady (Taylor Zottl) respectively. “[Lucia’s Loch] is a drink reminiscent, both visually and flavourwise, of Scotland’s misty lochs and moors,” Bochon said. “[It’s] complemented with the lavender subtle flavour notes as well as its more seductive symbolism of devotion, ardent attachment and distrust.”

All three recipes chose to acknowledge the Scottish influence using various scotches, then added other ingredients that also matched the various themes.

“Made with a highlands Reposado, [Lucia’s Royal Blue Hour on the Moors] has a fine balance between the agave notes, the wood, scotch-smoke and the bittersweet strawberry of the Campari. Kind of like a Rosita meets a Seelbach, burnt,” Brewster explained.

Each cocktail will be available at its respective restaurant until April 23, 2015 — after the opera, make a night of it and share your cocktail experience with the hashtags #eoLucia and #eoMixology on Twitter (@edmontonopera), Instagram (@edmopera) and Facebook.

22 LUCIA DI LAMMERMOOR

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Garnish with an edible hibiscus flower (which will act like nucleus points for the carbonation in the Prosecco).

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Artists’

PROFILES Robert Tweten Conductor

Robert Tweten returns for a fifth time to Edmonton Opera after conducting last season’s Madama Butterfly. The Canadian native also recently led La Traviata for Utah Opera, Le nozze di Figaro for Calgary Opera and Carmen for Tulsa Opera. Head of music staff for the Santa Fe Opera, Robert has led five productions there as well as other companies including Lyric Opera of Chicago, Sarasota Opera, Vancouver Opera and Austin Lyric Opera. An active collaborative pianist, Robert has performed internationally with many of today’s foremost singers and instrumentalists in venues such as Carnegie Hall, Wigmore Hall and the Salzburg Festival.

Brian Deedrick Director

A former artistic director of Edmonton Opera, Brian is delighted to join Tim Yakimec and the new team at the company for this longdreamed-of production of Lucia di Lammermoor.

Favourite directing projects for Edmonton Opera include Fidelio, Otello, Falstaff, Weill in Weimar and The Merry Widow.

Recently, his directorial efforts have included The Threepenny Opera for Studio Theatre, HMS Pinafore in Tennessee, Candide for Opera Nuova and La Bohème in Winnipeg. Upcoming: Dead Man Walking for Opera Nuova, Mefistofele for Knoxville Opera, Aida in Austin and of course, a summer of tour guiding in Berlin!

Adam Fisher

Normanno | tenor Adam Fisher won glowing reviews for his 2013 debut as Pedrillo in Opera Atelier’s acclaimed production of Mozart’s Abduction from the Seraglio and recently starred in City Opera Vancouver’s world premiere of Pauline. A graduate of the University of British Columbia, Adam joined the Emerging Artists Program with Calgary Opera in 2010. Recent performances for this charismatic young tenor include Britten’s Serenade for Tenor, Horn and Strings with Ottawa’s Thirteen Strings, Lieutenant Cable in South Pacific with Victoria Symphony, Messiah with National Arts Centre and Alfred in Edmonton Opera’s Die Fledermaus. In 2015/16, Adam debuts as Lysander in Britten’s Midsummer Night’s Dream with Pacific Opera Victoria and returns to Edmonton Opera as Camille in The Merry Widow.

Jason Howard

Enrico Ashton | baritone Jason Howard is recognized as one of the United Kingdom’s leading performers on the operatic stage, having sung the baritone roles in Attila, La Traviata, Don Carlos, Rigoletto, Macbeth, Nabucco and Il Trovatore. Other highlights include his debut at the Royal Opera House and Paris Opera as Marcello (La Bohème). He also enjoyed success as Wotan in Wagner’s Der Ring des Nibelungen at the Opéra National du Rhin, Strasbourg. Other highlights have included Death in Venice (Teatro Colón, Buenos Aires), Mourning Becomes Electra (Chicago Lyric Opera) and as Emile de Becque in the Lincoln Center production of South Pacific.

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Artists’

PROFILES Giles Tomkins

Megan Latham

Raimondo Bidebent | bass-baritone Giles Tomkins is recognized as one of Canada’s most promising young singers, widely praised for his vocal virtuosity and lyricism in an impressive range of repertoire. Giles has become a familiar figure as Colline in La Bohème, performing the role with Scottish Opera, Saskatoon Opera and Manitoba Opera. Superintendent Budd in Britten’s Albert Herring is another signature role, performed with Aldeburgh Festival, Vancouver Opera and Pacific Opera Victoria. Recent role debuts for Giles include Raimondo in Lucia di Lammermoor with Pacific Opera Victoria and Angelotti in Tosca with Opera Lyra Ottawa.

In 2015/16, Giles looks forward to Don Basilio in Pacific Opera Victoria’s Il barbiere de Siviglia and Don Pizarro in Fidelio with Opera Lyra Ottawa.

Simone Osborne

Alisa | mezzo-soprano British Columbia’s Megan Latham has recently appeared as Rossweisse (Die Walküre) for the Canadian Opera Company, Grandma (Stickboy) for Vancouver Opera and Geneviève (Pelléas et Mélisande) for Against the Grain Theatre. She was featured as Mistress Quickly in Falstaff (Pacific Opera Victoria), Marcellina in Le nozze di Figaro (Vancouver Opera), in Beethoven’s Symphony No. 9 (Kitchener Waterloo Symphony) and in Messiah for the Victoria Symphony. Previous Canadian Opera Company roles include Mère Jeanne in Dialogues des Carmelites (Dora Award) and Giovanna in Rigoletto. Megan is a founding member of “Casa Diva” with sopranos Joni Henson and Virginia Hatfield.

Upcoming engagements include soloist for Verdi’s Requiem (National Arts Centre, Ottawa) as Ruth in Dark Sisters (Vancouver Opera) and as Erda (cover) in Siegfried and as Marcellina (Canadian Opera Company).

Lucia | soprano

Robert Breault

Simone Osborne was one of the youngest winners of the Metropolitan Opera National Council Auditions and an alumna of the Canadian Opera Company Studio Ensemble. Recently, Simone was seen at Vancouver Opera as Pamina (The Magic Flute) and Juliette (Roméo et Juliette), as well as debuted with the Los Angeles Philharmonic, Chicago Symphony and the orchestras of Monte Carlo and Toulouse. At the Canadian Opera Company, she has been seen as Gilda (Rigoletto), Lauretta (Gianni Schicchi), Pamina (Die Zauberflöte), and Ilia (Idomeneo). Next season, she returns to the COC as Nanetta (Falstaff) and debuts with the New York Philharmonic and Paris Philharmonic in Honegger’s Jeanne d’Arc au bûcher. Simone dedicates these performances to the memory of Irving Guttman, father of opera in Western Canada, and a treasured mentor and friend.

Edgardo | tenor

Robert Breault’s career features an extraordinary breadth of repertoire. Opera highlights include numerous appearances with New York City Opera, Utah Opera, Chautauqua Opera, Atlanta Opera and Arizona Opera. He’s also appeared with companies such as Portland Opera, Opera New Orleans and Florentine Opera. He appeared with Edmonton Opera in recent productions of Rigoletto and Tosca. Robert’s concert career includes performances with the Philadelphia Orchestra, Cleveland Symphony, San Francisco Symphony, Milwaukee Symphony, Toronto Symphony, Atlanta Symphony and Montreal Symphony, to name but a few. Robert serves as director of opera at the University of Utah.

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Artists’

PROFILES Robert Clark Arturo | tenor

Known for his fresh-voiced and technically refined singing, Robert Clark was recently featured in Opera Canada as one of its Artists On Stage.

Recent and upcoming engagements include The Vaudevillian in Shot! (Nickel City Opera, Buffalo, NY), First Priest/First Armed Man in The Magic Flute (Edmonton Opera), The Steersman in The Flying Dutchman (Calgary Opera), Flask and Ahab (cover) in Moby Dick (Calgary Opera), Tamino in The Magic Flute (Highlands Opera Studio), Macduff in Macbeth (Pacific Opera Victoria) and Roderigo in Otello (Calgary Opera).

Peter Dala

Chorusmaster & Repetiteur Resident Conductor

Peter Dala began his conducting career 30 years ago with the Basel 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 roughly 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.

david fraser Lighting Designer

Previous designs with the Edmonton Opera include Die Fledermaus, Aida, Cavalleria Rusticana/ I Pagliacci and Otello. As a Calgary-based artist, David works extensively across the country in theatre, dance and opera. His designs have been seen nationally from the Vancouver Opera to the National Arts Centre, and internationally his work has been presented with choreographers Tania Alvarado and Pam Tzeng. David is currently the production manager at Alberta Theatre Projects in Calgary, and also the director of production for the English Canadian Exhibition at the Prague Quadrennial of Performance Space and Design. 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.

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 The Magic Flute, The Barber of Seville, 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 Théâtre. 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.

Gina Moe

Assistant Stage Manager Recent assistant stage manager credits include The Magic Flute, Eugene Onegin, The Tales of Hoffmann, Aida, Tosca (Edmonton Opera). Gina was the stage manager for Little One (Theatre Network), Craniatrium (Firefly Theatre), 6.0 How Heap and Pebble Took on the World and Won (Lunchbox Theatre and Northern Light Theatre), An Accident, Heroine, Jailbait and Victoria Martin: Math Team Queen (Northern Light Theatre), Bitch Slap! (Guys in Disguise), The Euphorians, Whiplash Weekend and Angels on Horseback (Teatro La Quindicina) and numerous productions for Theatre Calgary and the Citadel Theatre. Gina is a two-time winner of the Elizabeth Sterling Haynes award for Outstanding Achievement in Production.

LUCIA DI LAMMERMOOR 31

Edmonton Opera chorus Sopranos Janine Bamford Jill Hoogewoonink Betty Kolodziej Joyce LaBriola Christine Ledig Lydia-Ann Levesque Christina O’Dell Cristina Weiheimer

and supers

Mezzo-sopranos

Tenors

Basses/Baritones

Charlotte Burrowes Sable Chan Seang Youn Choi Dilys Kulchitsky Joanne Linden Patrece Maluzynsky Krista-Marie Mulbery Karen Zabinski

Garreth Borgstrom Taylor Fawcett Mathew Glenn Raimundo Gonzalez Cole MacIver Robert Rock Daniel Rowley John Yun

Eric Epp Ivan Fedyna Nick Horobec Walter Hsu Greg Maluzynsky Andrae Marchak Francis Price Peng Wu

Supers Autumn Bellek Mike Boire Adam Clarke Fred Deis Mikhajlena Fedyna Adrian Howard Terry Ingraham Claire Kulchitsky Trevor Robert Lorraine Teel David Tonner

Edmonton Symphony orchestra William Eddins, Music Director Violin 1

cello

bassoon

Percussion

Robert Uchida Virginie Gagné Laura Veeze Broderyck Olson Richard Caldwell Joanna Ciapka-Sangster Alison Stewart Anna Kozak Aiyana Anderson-Howatt Neda Yamach

Sheila Laughton Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin Ian Woodman

Matthew Howatt Edith Stacey

Brian Jones John McCormick

horn

Harp

Allene Hackleman Megan Evans Gerald Onciul Donald Plumb

Nora Bumanis

Violin 2 Dianne New Susan Flook Heather Bergen Zoë Sellers Robert Hryciw Tatiana Warszynski Jim Cockell Kate Svrcek

Viola Stefan Jungkind Charles Pilon Clayton Leung Rhonda Henshaw Mikiko Kohjitani Andrew Bacon

bass Jan Urke John Taylor Janice Quinn Rob Aldridge

trumpet

Orchestra Personnel Manager

Robin Doyon Frederic Payant

Eric Filpula

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Aaron Hawn

Elizabeth Koch Shelley Younge Elizabeth Faulkner

John McPherson Kathryn Macintosh

ESO Production Staff

Oboe

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flute

Lidia Khaner Paul Schieman

clarinet Julianne Scott David Quinn

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Librarian

Jerrold Eilander Mike Patton

Tuba Scott Whetham

tIMPANI Barry Nemish

LUCIA DI LAMMERMOOR 33

HELPING OUR ARTS COMMUNITIES

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At MNP, we know that a thriving arts and cultural community can spur economic growth, inspire innovation and accelerate the creative vitality of the region. We like to believe we have earned a five-star reputation in strengthening our cultural communities and industries through our support for artists and arts organizations since 1945.

To find out how MNP can help your organization shine, contact Darren Turchansky at 780.453.5378 or darren.turchansky@mnp.ca

34 LUCIA DI LAMMERMOOR

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The Merry Widow Oct. 24, 27 & 29, 2015 Carmen Jan. 30, Feb. 2 & 4, 2016 Maria Stuarda April 16, 19 & 21, 2016

Feelings of intrigue and allure run strongly through the 2015/16 season, with the three upcoming Edmonton Opera productions.

Whether it’s a case of infidelity or a complicated love triangle, next season is full of Epic Scandals, with Lehár’s The Merry Widow, Bizet’s Carmen and Donizetti’s Maria Stuarda.

“It was the kind of intrigue that people enjoyed at the time,” said Peter Dala, Edmonton Opera’s resident conductor and chorusmaster, referring to the tantalizing plot that bubbles below the surface of Lehár’s light-hearted waltzes. “People were interested in what the upper class was doing. We do the same thing now with famous people.”

Hanna, the widow referred to in the opera’s title, enjoys fame of sorts — she has everyone’s attention as the heiress of a fortune, since it would spell financial ruin for her native country of Pontevedro if she were to fall in love with a foreigner during her Paris vacation.

Comic attempts to marry her off to the “right” man during the Belle Époque in Paris culminate in a raucous can-can at Chez Maxim’s, when Hanna reveals that she was ahead of the game all along.

“It’s a window into a part of life, into society that you normally wouldn’t see,” Dala said. “It’s hidden, and anything hidden is worth looking into. It’s all very pretty and the music is infectious, with waltzes, can-cans and dreamy melodies, but even in the simplest stories, there’s an undercurrent. That’s the beauty of it, I think.”

This girl is trouble The operatic heroine in Carmen, sung by a mezzo-soprano, represents capriciousness, fearlessness and a love of freedom — unlike the usual formula where the soprano is the leading lady, the tenor gets the girl, the baritone causes trouble and the bass offers sage advice.

A dangerous combination of an extraordinary woman, a loyal soldier and a matador still boils down to a story about the human condition — seduction and playfulness, cruelty and destiny. Carmen competes with Micäela for the attention of

Don José, but once Carmen has his affections, she changes her mind and is soon found on the arm of Escamillo. Filled with Spanish heat and passion, the existential tale ends in an inevitable murder. “[Carmen’s] got grit,” Dala said. “Is she trouble? She likes adventure, she likes to live on the edge, she doesn’t run from danger, but faces it, like a bullfighter would.”

The Canadian creative team — director Maria Lamont and designers Camellia Koo and Deanna Finnman — will breathe vibrant colour and life into this new production. Perhaps because it’s such a well-known piece, Dala explained that everyone has different expectations of Carmen.

“So it’s worth seeing as many Carmens as you can, to decide which Carmen meets your expectations,” he said.

Duelling divas Carmen has only one fiery diva, but trouble multiplies in Maria Stuarda, as Mary Stuart, Queen of Scots, and Queen Elizabeth I clash in a fictional, desperate struggle for political power.

A love triangle forms between the two queens with Lord Leicester as the object of their affections. When Elizabeth becomes suspicious and then confirms a relationship between Leicester and her cousin, she is furious that Maria is trying to rob Elizabeth of both her crown and the man she loves. Though Elizabeth realizes that beheading Maria carries implications, she is infuriated by the pride she sees in her rival.

Sparks fly in the Alberta premiere of this bel canto opera, and while Donizetti took liberties with history, he introduces the audience to the historical characters and their legacies.

From harmless flirtation and comedic overtures to passionate seduction and a confrontation that could be described as a lyrical catfight, next season the Edmonton Opera invites you to the Jubilee to take part in an Epic Scandal.

Subscriptions for the 2015/16 season can be purchased online at edmontonopera.com or by calling the box office at 780.429.1000.

40 LUCIA DI LAMMERMOOR

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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 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, shared 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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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. • 10177 - 105 Street, Edmonton, Alberta T5J 1E2 Ph: 780-423-5834 • Fax: 780-413-6185 • www.playhousepublications.ca PLAYHOUSE PUBLICATIONS LTD. President & Publisher: Rob Suggitt Art Director & Designer: Christine Kucher Advertising Sales: Barry Powis, Glenda Dennis Administration: Amber Grmek Edmonton Opera Magazine is a product of Playhouse Publications Ltd., an affiliate of Suggitt Publishers.

President & CEO: Tom Suggitt • President & CFO: Rob Suggitt

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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 Ashif Mawji Craig Corbett Melanie Nakatsui Mary-Lou Hamilton Bernie Robitaille

Robert Rock Stella Varvis

Irving Guttman, Artistic Director Emeritus (Oct. 27, 1928 – Dec. 7, 2014)

edmonton opera staff Executive

Tim Yakimec, General Manager & Artistic Director

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Finance

Debra King, Interim CFO Serene Yau, Accountant

Community Relations

Cameron MacRae, Senior Manager, Marketing Catherine Szabo, Communications Manager Lauren Tenney, Marketing Coordinator

Fund Development

Grant Smith, Director of Advancement Gwen Horvath, Fund Development Manager Jennifer Hinnell, Grants Officer Mickey Melnyk, Stewardship Officer

Jacob’s successful surgery means he can run, jump and slide like a regular three-year-old.

Box Office

Joanne Madeley, Box Office Manager Celyne Runzer, Box Office Clerk

Artistic Administration

Ha Neul Kim, Artistic Manager & Resident Stage Manager Peter Dala, Resident Conductor & Chorusmaster

– Janna (mom)

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 Patsy Tomkins, Production Assistant Kathy Cooper, Assistant Head Carpenter Brenda Inglis, First Assistant Wardrobe Kathleen Mulder, Dyer Ava Siemens, Stitcher Kathryn Neuman, Stitcher & Dresser Danine Regenwetter, Stitcher & Dresser

Production and technical Stage Crew

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.

Geoff Bacchus, Head Stage Carpenter Kathy Cooper, 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, Wigs & Hair Jacquie Dawkins, Supertitle Cuer Nanc Price, Volunteer Photographer

LUCIA DI LAMMERMOOR 49

events

June 19, 2015 Celebrate the summer solstice during Opera al Fresco, with open-air performances and great food and wine at the Devonian Botanic Garden.

Oct. 4, 2015 Featuring the cast of The Merry Widow, the first brunch of the 2015/16 season will be at the Royal Glenora Club.

Oct. 7, 2015 Enjoy your favourite beverage and a casual discussion about Lehár’s The Merry Widow during Opera 101. Starting at 7 p.m., this event is complimentary (food and drinks not included), but requires online registration at edmontonopera.com.

Oct. 22, 2015 The education dress rehearsal allows students to experience opera firsthand.

Teachers can contact education@edmontonopera.com to arrange tickets.

Oct. 24, 27 & 29, 2015

Everyone is after the widow’s money, and comic attempts to marry her off to the “right” man during the Belle Époque in Paris is the basis for the plot of The Merry Widow.

For more information or to purchase tickets to any of these events, please call 780.429.1000, or visit edmontonopera.com.

50 LUCIA DI LAMMERMOOR

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