Edmonton Opera program - The Merry Widow

FALL 2015

2015 2016 season

ARTISTIC DIRECTOR’S MESSAGE

MUSICAL CONFECTION OPENS SEASON

2015/16 SEASON SPONSORED BY

PROGRAM NOTES

OPERETTA A RUNAWAY SUCCESS INTERVIEW WITH MARIA LAMONT

CREATING CARMEN

PRODUCTION SPONSORED BY

FRANCIS PRICE & MARGUERITE TRUSSLER OPENING NIGHT SPONSORED BY

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Fall 2015 contents

4 Message from the General

Manager & Artistic Director

21 Program Notes

23 Artists’ Profiles

6 Partners and Sponsors

9 Sustainability Fund

33 Edmonton Opera Chorus and Edmonton Symphony Orchestra

11 Director’s Circle

38 Creating Carmen

12 Friends of Edmonton Opera

41 Planned Giving

15 Endowment Fund

43 Rob Hood Fund

17 Composer Bio

45 Edmonton Opera Board and Staff

46 Upcoming Events

Cast and Production Credits

18 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

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GOVERNMENT & FOUNDATION SUPPORT

Welcome

to The Merry Widow, where we begin our season of Epic Scandals! At the time of writing this, we are still anticipating the arrivals of artists, costumes and sets to cross the border, so I am extremely happy to welcome you to the Northern Alberta Jubilee Auditorium, where schedules and details have meshed to lead to this very moment!

Opera can tell simple stories but in a big way. Such is the case with The Merry Widow. We are very quickly drawn into a flurry of schemes and heightened emotions with the impending arrival of the widow Hanna Glawari. We know we are in store for a journey verging on cartoonish farce, but at its centre, Hanna skilfully guides and nurtures that huge emotion called love. We are so fortunate to have one of Canada’s leading sopranos (and we quite enjoy working with her too) debut this role with Edmonton Opera.

Sally Dibblee exudes wonderful warmth — both vocally and through her great capacity to share on stage. The role of Hanna requires an individual who can wear her heart on her sleeve yet confidently convey the emotion in this score, so I was thrilled when Sally said this role was one of her favourites and one that she had been wanting to perform.

The creative team of maestro Peter Dala, director Brent Krysa and choreographer Dave Ganert were tasked with bringing this story to life, utilizing grandiose comedy tempered with tenderhearted romance.

A terrific, all-Canadian ensemble completes The Merry Widow cast; a perfect example of the ideal mix that we strive for when casting.

The audience is treated to a balance between seasoned international talent and up-and-coming Canadian artists, while the artists themselves benefit from coming together, mentoring and learning from others’ experiences. For example, Tanya Roberts (Valencienne) is joining The Merry Widow cast after an extraordinary 184 performances of The Marriage of Figaro in Vienna. Looking forward to Carmen, Greg Dahl (Escamillo) is fresh from his critically acclaimed performance in Pique Dame (Royal Opera House). It was wonderful to have caught him in this commanding performance.

Overall, it’s extremely gratifying to see who I think are solid Canadian singers rightfully take their place on the world stages, then gracing our stage to share that acclaim.

The season’s productions provide a mix of light work, the familiar and the more dramatic, but before we get to that, back to tonight! The Merry Widow is the perfect launch to a season of arts offerings, with its light-hearted approach, engaging singers and music that captures the heightened sentimental romance of this piece.

So again, thank you for joining us and supporting opera in Edmonton.

Enjoy the performance as the cast of The Merry Widow diverts a scandal of operatic proportions!

– Tim Yakimec General Manager & Artistic Director

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.

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PARTNERS

and

SPONSORS

SEASON SPONSORS

The Rob Hood Fund Production Sponsors the merry widow

carmen

maria stuarda

Francis Price & Marguerite Trussler opening night sponsor

Sponsor of the Edmonton Opera Chorus

opening night sponsor opening night sponsor

Emerging Artist Sponsor

Education Dress Rehearsal Sponsor

Gold Partners

SPONSORS

media Supporters

6 the merry widow

Education outreach Sponsor

Official Supporters

Suggitt PUBLISHERS

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

Suggitt PUBLISHERS

Edmonton Opera is grateful for the support of these sponsors, suppliers and media partners.

For more information about supporting the Edmonton Opera, please call 780.392.8714 or email development@edmontonopera.com.

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(Premiere Circle) We wish to thank the following individuals, corporations and foundations

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.

Individuals

Monica & Jim Allen James Archibald & Heidi Christoph Robert & Michele Bessette Kevin & Penny Birkholz Jim & Sharon Brown John Cameron Drs. Carol & David Cass Richard S. Cook Judy & John Cosco Darren & Laurel Durstling Mark & Nancy Heule Laurence Jewell Dianne Kipnes Irving Kipnes

Ashif & Zainul Mawji Phil Milroy & Jane Russell Dr. Thomas & Melanie Nakatsui Jack & Esther Ondrack Maureen & Randall Purvis Francis Price Marguerite Trussler Bernie Robitaille Arnold & Grace Rumbold Angus & Heather Watt James & Sheila Wheatley Bill Winter Paulette Winter Glenn & Sandra Woolsey

Corporations & Foundations

Al-Terra Engineering Ltd. Arrow Engineering Clark Builders Dianne & Irving Kipnes Foundation Ledcor Group of Companies Kasian Architects

Qualico Developments Shelley & Guy Scott Family Foundation Sorrell Financial Standard General Construction Wheaton Family Foundation

The first stage of the Sustainability Fund, to obtain 50 gifts, has been achieved.

The second stage, to reach 100 gifts, is now in progress.

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

the merry widow 9

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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

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 780.392.8714.

Season SponsorS $250,000 Rob Hood Fund Dianne & Irving Kipnes Foundation Creekwood The Merry Widow Production Sponsor $150,000 Francis Price & Marguerite Trussler Carmen Production Sponsor $150,000 Creekwood MaestroS $25,000 C.J. Woods, FCA $10,000+ Allard Foundation Weber Motors

LEADERS $5,000+ Larry & Ellen Eberlein General Recycling Dr. Frederic & Alma Gojmerac Heritage Insurance & Consulting Ltd. Judy & Stuart Mackay Overhead Door Co. of Edmonton Marjorie Purdy Alan Rose Eira Spaner Dr. Oksana Suchowersky Ed Wiebe & Marcia Johnson PATRONS $3,000+ Jennifer Brown Branko & Jasna Calic Fath Group/O’Hanlon Paving Ltd. Jeffrey Jansen Dr. Christine Kyriakides LandLink Consulting Ltd. Laurel Mckay Arliss Miller Chris & Vivian Varvis Dr. P.J. White & Patty Whiting

BenefactorS $1,750-$2,999 Tricia Abbott Justice Darlene Acton Pauline Alakija Rhonda Baker Bruce & Carol Bentley Douglas K. Bingham & Sheila Janki-Bingham David & Patricia Cassie Dr. Mary Chisholm Marian Clarke Elaine Coachman Conroy Ross Partners Joseph & Pat Fernando Hans & Susanne Forbrich Peter & Astrid Griep Linda Hamilton Brian Kucey & Elena Hernandez-Kucey Jill Konkin Igor & Galia Kwetny Joan Lopatka & Bill Rutledge Hilliard Macbeth Stephen & Lynn Mandel Rod & Heleen McLeod Hugh McPhail & Yolanda Van Wachem Michael & Mariette Meier Ken & Gerda Miller Risha Milo Dr. Kyle & Colleen Murray Aline Pratch Dr. Leonard Ratzlaff James E. & Vivian Redmond Tulane Rollingher David Steer & Larissa Whiting Peter & Joyce Walton Wawanesa Robert A. Wilson David Young Gerhard & Inge Zmatlo the merry widow 11

friends SustainerS

($1,000-$1,749) Michael Boire Diane Buchanan Orville Chubb Sandi Ann Darrell Michael & Eva-Maria Day John & Ann Dea David & Janice Dorward Robert Edmunds Nelson Fok Ralph Friederichsen Bill Grace Todd Grundy A.R. Grynoch & P.V. Sing Gabor Gyenes & Erika Mullner Brent Hesje Fountain Tire Ltd. Douglas & Dorothy Hollands Vickie Kaminski Peggy Marko Alan Mather Dr. Dean Rokosh Donald Smith Dennis Todoruk & Susan Stauffer Knut Vik & Frank Calder Ralph James Wood

SUPPORTERS

($500-$999) John Adria Joann Allard Cory P. Almquist Carl Amrhein Ronald M. Bachmeier Terry Vincent Bendera Cameron Development Corporation Ivan & Ksenia Fedyna Mary Ford Lorna Gawlinski Douglas & Joanne Goss Bryan Hall Alice Harrison Kenneth & Jean Heavenor Ghislaine Hebert Andrew Hladyshevsky Holt Renfrew Hughes Petroleum Ltd. Jatec Electric Rob Jolley Ken Keenleyside Arno M. Klein Neil & Jean Lund Brenda MacDonald Kelly MacFarlane & Christopher Mackay Beth Macintosh 12 the merry widow

of

Edmonton Opera

Jeremy Main Denis & Ruth McGettigan Les Moss John Oberg Janine Odishaw Fred & Helen Otto Andrew Otway Dr. George & Teresa Pemberton Mary Phillips-Rickey Fay Plomp Dr. Clarence H. Preitz Ian W. Reynolds Marshall & Lisa Sadd Pierre Sareault Grant Smith Michael & Nance Smith Brian & Dawn Vaasjo Frank Van Veen Harold & Kay Veale Tim Yakimec

CONTRIBUTORS ($250-$499) 763058 Alberta Ltd. Brian Baker Margaret Bateman James Belovich Curt Beyer Marc R. Bisson William Blais Donald Bobey Canada North Camps Peter Cavanagh Cory Chisholm Desmond Chow Bruce Clark CPI Construction Sophie Drolet Dwayne Dufva Mark England Jason Fjeldheim Jim & Shirley Funk Stephanie Anastasia Gardener Stacey Gibson Brenda Gross Cathryn Heslep Christy Holtby Dr. Jiri Hrazdil Islay Agencies Don Iveson Barry James Lynne Kest Patching Richard & Erin Kirby Bern Kotelko David & Sandra Kraatz Dr. Elizabeth Krause Libuse Kuzel Peter Laird

Michael Scott Martin Doug McConnell Linda Medland-Davis Robert Medynski Miclex Construction Inc. Shauna Miller & James Gillespie Kevin & Robyn Mott John Charles Mulholland, Esq. Larry Newton Wade O’Neill Aaron & Jean Oshry Dr. Edward & Geri Papp C.H. Parks Cindy Paszkowski & Bill Tonn Iris Popowich Scott Reed David Rees & Linda Miller William Richards Carolynne E. Ross Stewart Roth Edmund & Orla Ryan Kathleen Ryks Bruce Sansom Don Schultz Alison Seymour Doug & Devika Short Doug Silverberg Gerry & Barbara Sinn Campbell & Rosalind Sydie Marc Tardif Karen Marie Trace Dr. Linda Uniat Kirsten & Konrad von Finckenstein Terry & Melanie Whittingham Dan Worley

MEMBERS

($100-$249) 1732534 Alberta Ltd. Marissa Adams Brent Agerbak Barbara Allen Darcy Anderson Catherine Andrew Justin Archer Nancy Aust Sam & Sonia Azer Diana M. Bacon Mary Bailey Jeff Baker Deborah Barnes Walter & Stella Baydala Regina Beckett Mary-Ellen Berget Jeff Bertram Patrick S. Bieleny Jelena Bojic

Theodore D. Bosse William A. Bowlen Patrick Boyle E. Ross Bradley John Buchko Joanne Burek & Lee Stickles Elizabeth Butler Janet Carle Linda-Rae J. Carson Chris Chantler & Colleen Mckenna Isabelle Chapados Carole Charette Rick Charity Elisebeth Checkel Donald Chisholm Janice Chobanuk Gary Christenson Chung Chu Janet M. Clark Mary Teresa Clonfero Roger & Carol Cohen Joseph & Marta Collier Mark Collins Lesley Cormack Dr. Diane Cox Tim Crisall & Stefanie Ivan Cruz Ventures Inc. Brenda Dale Michaela Davis Marco De Leo Jennifer Dechaine James & Gail DeFelice Dan & Lorna Dennis Derks Menswear Manuel Desa Louis & Marcelle Desrochers Dr. R.J. & Janet Dmytruk Len Dolgoy Wendy Doughty & Jim Klingle Maggie Dower Lisa Doyle Frank & Muriel Dunnigan John Eaton Tim Eckert Dr. Catherine Eddy Marianne & Andy Elder John R. Elford Marilyn Elliott Martin & Jacqueline Elton Tom & Heather Etsell Wayne Eyre Noella Fagnan Alfred & Coleen Falk Greg & Cathy Farnell Eric Fath-Kolmes Werner Fenske Lois Field Karin Fodor

Kevin & Rachel Foster Dr. Robyn Fowler Margaret Friedman Phil Gaudreault Louise Gibson Todd R. Gilchrist Walter Goetz Doug Gordulic Orest & Linda Gouda Charles & Ann Grant Rodney Gregory June Greig Daniel Hamilton Wes & Joceylyn Hamilton Marylee Hansen Michael Haupt Zenia J. Hawrysh Dr. Tatsuyuki Hayashi R. & Barbara Henderson Lesley Heppleston Dr. Judith Hibberd Leroy & Barb Hiller Dr. Karen & Pam Hofmann David Hole Gwen Horvath Barbara Mary Howard Mike Hruska Bonny & Earl Hubert W.H. Hurlburt Stewart & Juliette Inglis Erik & Franziska Jacobsen Jocelyn Joy Kessler Adam D. Kilburn Ha Neul Kim David King Harold Kingston & Marie Desrochers Shirley Kirkpatrick Wade Klimchuk Greg Krischke Kimberlay Krushell Lorraine Kucey John Kuzyk Walter & Kay Lachman Trevor Larose Mark LaRue Franklin C. Loehde Doug & Joan Longley Thomas A. Lukaszuk David Lynch Richard & Jean Lyne Lowell & Donna Lyseng Mike MacBeath Ian B. MacDonald Dr. Caroline MacDonald-Davis Denis MacIver Campbell MacKenzie Don MacLean Cameron MacRae

Carla Mallett Devon J. Mark & Allen Vander Well Joan H. Marshall John & Cathleen Matthews Vince A. Mattia Joseph A. Matties Allison McCollum Dr. Keith & Brenda McNicol Mickey Melnyk Zoltan & Brigitte Meszoly Ronald & Carole Middleton Janet Millar Jason Milligan Susan Monson Donald & Elaine Neeland Michael O’Dell Brenda Oberg

Terry Ogrodiuk Sharon Ohayon Dr. Hanne Ostergaard Frank Palko Glenn A.R. Paone Joanna Papadopoulos-Wass William Pigden Barbara Prodor Carlos Raposo & Judy Strachan Eugene & Jeanne Ratsoy Sharla & Dorian Rauschning Trevor & Wendy Reddekopp Yvonne Rekken Costantino Renzi Justin Reynolds Paul Richards Jason James Richardson

In Memory of Patricia M. Paone: Glenn Paone

Carey Rizzato Jeff Robinson Keith Robinson Clayton Rodney Hilary Rose Wayne Rose Denise Roy Joel Rubletz Dr. E.J. Rudnisky Don Sather Jelena & Dusan Savic Tom & Bev Sawyer Mike Schmidt Anne Shillington Chris Sieben Sinclair Supply Ltd. Caroline Smith Edward Smith

In Honour of Rita Allen: Margaret Friedman

Ian & Irene Sneddon Emily Stang Alison & Richard Starke Naomi Stefura Bill Stephens Karen Elaine Stewart Bobbi Stobbart Anne Strack Martin & Heike Stribrny Jean Sult Rene & Lynette Tardif Mark & Sarah Taylor Louis Te Sandro Torrieri Kristian Udesen Dennis Vance Terry & Michele Veeman Trudy Velichka

Hon. Allan H. Wachowich Allen Wasnea Cassandra Watson Joan Welch John Wenchulak Dianne Westwood Richard Wojcichwsky Shawn Wruth Serene Yau Hoover Young Jeff Young

In Memory of Oline Markine: Francis Price & Marguerite Trussler

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, Howard Irving, 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 780.392.8714 or email individual.giving@edmontonopera.com.

Only 2015/16 season donations and/or pledges processed up to September 15, 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 780.392.8714. 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

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MEMBER

CONTRIBUTOR

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PATRON

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$100+

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$1,750+

$3,000+

$5,000-$10,000

Tax receipt Acknowledgment in Intermezzo magazine Complimentary poster from our current season

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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

DIRECTOR’S CIRCLE

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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 Lauren Hyatt, Events Coordinator and Donor Relations, at lauren.hyatt@edmontonopera.com or 780.392.8714 for more information about becoming a DC member.

The Sustainability Fund is comprised of dedicated individuals, corporations and foundations who have committed to a five-year, $10,000-per-year contribution, ensuring the sustainable future of Edmonton Opera. For more information about Sustainability Fund experiences and commitments, please contact Gwen Horvath, Director of Fund Development, at gwen.horvath@edmontonopera.com or 780.392.7837.

the merry widow 13

Who supports all artists from comprimario to prima donna?

We do.

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

ÂŽATB Financial is a trade name/registered trademark of Alberta Treasury Branches.

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 throughout the year, but our major campaign ends on Nov. 15, 2015.

For more information on how you can help sustain Edmonton Opera for generations to come, please call the donor services line at 780.392.8714.

Edmonton Opera

endowment funds

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 Canada Cultural Investment Fund Cecilia Fund Dr. David Cook Fund for Edmonton Opera Edmonton Opera Endowment Trust Fund Edmonton Opera Staff Contributions Fund Andy & Marianne Elder Fund Frederic & Alma Gojmerac Family Fund Irving Guttman Opera Endowment Fund The Dianne and Irving Kipnes Opera Fund Oline and Roderick Markine Family Fund John and Barbara Poole Family Fund Francis Price and Marguerite Trussler Family Fund The Russell & Dwight Purdy Memorial Fund Arnold & Grace Rumbold Fund In Memory of Howard Irving: J.E. Cote Richard Fraser Larry Judge John Karvellas Alec & Irene Murray Francis Price & Marguerite Trussler In Memory of Oline Markine: 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 Joanne Madeley 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 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 Howard & 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.

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Edmonton Opera presents

the merry

widow

Oct. 24, 27 & 29, 2015 Production sponsored by Francis Price and Marguerite Trussler

Born April 30, 1870, in Komárom, Hungary, Franz Lehár would live through all of the political and cultural convulsions of the first half of the 20th century, by the time of his death at age 78 on Oct. 24, 1948, in Bad Ischl, Austria.

He studied violin and music theory at the Prague Conservatory, and was encouraged by Anton Dvořák to pursue composition. As a violinist, Lehár would often create solo violin sequences in his works.

His professional music career started in 1888 when he became a theatre violinist in Barmen-Elberfeld, in the German Rhineland. He served his compulsory military service as a musician in the 50th Austrian infantry regiment band, where his father was the bandmaster.

Lehár became a bandmaster himself in 1890, leaving at one point for the production of an opera, but returning to his post when the opera failed. In 1899, he became the bandmaster of the 26th infantry regiment band.

After completing his military service in 1902, he continued to write numerous operettas — The Merry Widow was not his first, but by far his most successful.

His popularity declined after the First World War with the introduction of American music, but he combatted this by incorporating those sounds into his compositions. His success during the 1920s was also aided by his work with tenor Richard Tauber.

Giuditta, in 1934, was Lehár’s last work, produced at the Vienna Staatsoper, and blurred the lines between operetta and opera. By establishing the Glocken Verlag publishing house in 1935, he gained the rights to most of his compositions, with the notable exception of The Merry Widow.

He is buried in Bad Ischl, near Salzburg. His villa is bequeathed to the city and has been preserved as a museum and monument to the composer.

Music by Franz Lehár Libretto by Leo Stein and Viktor Léon Premiere: Dec. 30, 1905

Conductor Director Choreographer

Peter Dala Brent Krysa Dave Ganert

The Cast (in order of vocal appearance)

Vicomte Cascada Baron Mirko Zeta Valencienne Camille de Rosillon Raoul de St. Brioche Bogdanowitsch Sylviane Kromow Olga Pritschitsch Praskovia Njegus Hanna Glawari Count Danilo Danilowitsch

Aaron Durand Alexander Hajek Tanya Roberts Adam Fisher Ron Long Dion Mazerolle Natasha Da Fonseca Geoffrey Sirett Barbara King Jacques Arsenault Krista Mulbery Jason Hardwick Sally Dibblee Michael Nyby

with members of the Edmonton Opera Chorus and Supers and the Edmonton Symphony Orchestra Scenery designed by Michael Yeargan for Utah Symphony & Opera and constructed by Utah Symphony & Opera Production Studios.

Costume designs executed by Susan Memmott Allred.

Lighting Designer Sound Designer Assistant to the Director Chorusmaster Repetiteur Stage Manager Assistant Stage Manager Assistant Stage Manager

Geoff George Robert Smale Sarah Jane Pelzer Peter Dala Leanne Regehr Ha Neul Kim Rachel Dawn Woods Al Gadowsky

English translation by Ted and Deanna Puffer There will be one 20-minute intermission after Act I and one 15-minute intermission after Act 2.

The performance is approximately 2 hours and 55 minutes, including intermissions.

Edmonton Opera is a professional company operating within the jurisdiction of the Canadian Actors’ Equity Association.

Edmonton Opera is a member of the Professional Opera Companies of Canada and Opera America. the merry widow 17

SYNOPSIS

by Stephan Bonfield

Act I

Act II

Pontevedrian Embassy in Paris, turn of the century

The garden of Hanna’s house in Paris

At a diplomatic reception to celebrate the Pontevedrian ruler’s birthday, Baron Zeta (also the ambassador) denies that the little country is broke. Meanwhile, the reception is a hotbed of marital intrigue. Two young Parisians, Raoul de St. Brioche and Vicomte Cascada, flirt with several embassy wives, while Camille de Rosillon pursues Valencienne, the ambassador’s young wife. As much as Valencienne enjoys Camille’s attentions, she tells him that she is determined to be “a highly respectable wife,” so she intends to marry him off to someone else. Camille writes, “I love you” on her fan, which turns up again and again, causing trouble.

The baron is more concerned about Madame Hanna Glawari, a wealthy widow. If Hanna marries a foreigner, her money would assuredly leave the country, leaving Pontevedro in ruin. The baron must find the perfect Pontevedrian suitor — namely, Count Danilo. Danilo and Hanna were in love before her marriage to a wealthy banker, but Danilo’s uncle forbade a union to such a poor woman.

When Hanna arrives, she rejects the suitors surrounding her.

Valencienne thinks she has found the perfect match for Camille and coaches him on how to woo Hanna, offering him to Hanna as a dancing partner. Hanna chooses to dance with the baron because he is the least dangerous man at the party.

Danilo staggers in drunk, ready to answer the call of duty but collapses for a nap. When Hanna finds him asleep, an awkward situation ensues; they love each other but can scarcely admit it because both of them are too proud.

Later, Baron Zeta tries to persuade Danilo that it is his patriotic duty to marry Hanna. Danilo refuses, but agrees to do his best to keep everyone else away from her, partly out of spite and partly to save his own livelihood. For the Ladies’ Choice dance, Hanna is courted by everyone but declares she will pick the only one not interested in her, putting Danilo on the spot. Danilo then refuses to dance with her, offering the dance for sale for 10,000 francs, with proceeds going to charity.

This effectively wipes out the competition and the other suitors leave. Hanna is offended and at first refuses to dance with Danilo, but is eventually won over and they share a rare moment of intimacy.

Hanna has invited all the Pontevedrians to her mansion the next day.

Danilo is a reluctant guest but is still intent on keeping foreign suitors away from Hanna.

Zeta has become concerned that the Frenchman Camille will ruin his plan for Hanna to find a Pontevedrian suitor. Furthermore, when his wife’s fan turns up, Zeta does not recognize it, believing it to belong to Camille’s married lover. Zeta and Danilo desperately want to discover who owns the fan, in order to gain leverage over Hanna’s suitor. They arrange to meet that evening in Hanna’s garden pavilion to discuss their findings.

Meanwhile, Camille and Valencienne meet in the garden. Valencienne tells him they must part. Camille begs for her fan (which has been returned to its rightful owner) and Valencienne agrees, but only after writing, “I’m a highly respectable wife” on the other side.

Camille and Valencienne move to the pavilion to say their goodbyes.

When the baron spies lovers in the pavilion, Njegus assists Valencienne out the back so that the baron discovers Hanna and Camille instead.

Hanna announces that she will marry Camille. The baron is distraught at the loss of a national fortune and Valencienne becomes distraught at losing Camille. Danilo is naturally furious and storms out to get drunk at Maxim’s.

Act III Hanna’s ballroom decorated as Chez Maxim’s At Hanna’s party, there is unexpected entertainment. Danilo arrives to tell Hanna to reject Camille for the sake of her patriotic duty. Hanna tells Danilo that she never intended to marry Camille and that all along she was protecting the reputation of a married woman. Danilo is overjoyed, and about to utter, “I love you,” but his pride intervenes and he backs away.

Meanwhile, Zeta realizes that the notorious fan with the words “I love you” belongs to his wife. He declares himself divorced and free to marry Hanna himself. However, Hanna explains that if she remarries she will lose all her money, according to her husband’s will. So Danilo proclaims, “I love you,” to Hanna, only to be told that she will lose her money because her new husband will inherit it.

Valencienne also shows her husband her written answer to Camille, “I am a highly respectable wife,” on the reverse side of the fan. Zeta begs for forgiveness and all ends happily.

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 on the supertitles screen 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 floral arrangements courtesy of Hole’s Greenhouses, in exchange for a donation to the Edmonton Opera. Please visit the Opera Boutique in the main lobby on Thursday if interested.

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PROGRAM NOTES Franz Lehár revived the Viennese operetta tradition with The Merry Widow, introducing waltz tunes and imitations of Parisian can-can dances, as well as certain satirical elements, common to many operettas.

The Merry Widow was based on a comic play by Henri Meilhac, who was also the librettist of Bizet’s Carmen. Using this material, librettists Viktor Léon (né Viktor Hirschfeld) and Leo Stein wrote The Merry Widow.

Two years after the Dec. 30, 1905, premiere in Vienna, Die Lustige Witwe, or The Merry Widow, played in Buenos Aires at five theatres simultaneously. It was not Lehár’s first operetta, but it was his first runaway success. Accolades for the piece followed in England and the United States.

Operettas are considered less serious than operas, although this has more to do with the often comic plots than with the caliber of the music. Operetta is a genre of light opera — light in terms of both music and subject matter, with some of the libretto normally spoken rather than sung.

Viennese operetta started as a direct result of Offenbach’s international popularity in the mid-19th century. In the 1860s his counterpart composers included Johann Strauss II and Arthur Sullivan of Gilbert and Sullivan. It grew out of the French opera comique around the mid-19th century, to satisfy a need for short, light work to contrast with the full-length entertainment of the increasingly serious opera comique. It’s interesting to note that Carmen in 1875 is an example of opera comique with a tragic plot.

Musically, The Merry Widow is rich in melodies — the entrances of the leading characters, for example, are innovative, capturing the atmosphere of the scene as well as underlying aspects of the characters’ personalities — and Eastern European dance.

Important events in the piece are accompanied by waltzes, notably “The Merry Widow Waltz” in Act II. As the operetta is set in Paris, there are frequent galops — a lively ballroom dance in duple time — in the style of the can-can, including the short introduction at the very top of the piece, the “Women, Women” ensemble in the middle of Act II and the concluding section of Act II. The Grisettes’ number in Act III is also a galop, danced as a can-can.

The Eastern European influence is never more evident than through its Pontevedrian characters — Pontevedro is a fictional country bearing suspicious similarities to Montenegro. Baron Mirko Zeta even takes his surname from Montenegro’s Zeta River, while Danilo’s name echoes in somewhat recent royal Slavic history.

Hanna’s beautiful “Vilja Song” is a simple folk song with a canzona rhythm — long, short-short —and is based on the pentatonic scale, often used in folk music.

The dances also showcase the culture, as Hanna’s first number is a mazurka, a Polish folk dance. Then, Valencienne introduces Camille to Hanna in the Act I finale with a polka, a Czech dance with Polish associations. Act II opens with a polonaise, again Polish with Russian associations, followed by a number of country dances reminiscent of Hungary and Russia.

In world history, a young, impoverished, would-be artist of 16 years attended the Vienna premiere. From the time of its premiere, Adolf Hitler claimed a love affair with the piece. The plot — trying to keep the widow’s money in the fatherland — combined with Lehár’s music, made The Merry Widow Hitler’s favourite piece to the last days of the Second World War; according to New York-based composer, writer and lecturer Raphael Mostel, Hitler apparently listened to nothing but The Merry Widow over and over again in the Wolf’s Lair.

Most of Lehár’s collaborators were Jewish, including his wife, Sophie. She was declared an honourary Aryan, and Hitler himself said she was safe as long as he was alive. The librettist Stein died long before the war, but Léon starved to death hiding in Vienna in 1940, just as the Vienna State Opera offered a gala production of The Land of Smiles, another one of his collaborations with Lehár.

The continuing appeal of The Merry Widow lies in its music. Lehár’s orchestral colouring shows a musical sophistication reminiscent of Puccini, Debussy and Richard Strauss — Lehár was even said to have suffered from “Puccinitis” because of his close friendship with Puccini and his admiration for his music. With Lehár’s talent for tender lyricism and swaying musical phrasing, plus his technical knowledge of serious music, Lehár was able to place the operetta into the opera house.

With input from Virginia Opera

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Artists’

PROFILES

(in order of vocal appearance)

Peter Dala 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.

Brent Krysa Director

Brent Krysa’s production of Sondheim’s Assassins garnered a spot in the Montreal Gazette’s top 10 productions of the year, along with A Little Night Music and Company. Since then, he has been engaged by opera and theatre companies across Canada for a variety of works including Die Zauberflöte, Candide, and Hansel and Gretel. He has directed Cinderella, The Barber of Seville and La Serva Padrona (Canadian Opera Company) and produced The Barber of Seville (Hamilton Opera). Recent and upcoming projects include Le nozze di Figaro (Calgary Opera and Pacific Opera Victoria), Postcard from Morocco (Royal Conservatory of Music, Glenn Gould School) and The Barber of Seville (Opera Lyra).

Dave Ganert

Aaron Durand

Vicomte Cascada | baritone An enthusiastic, coffee-addicted baritone hailing from British Columbia, Aaron didn’t know Mozart from Mos Def until his college music history teacher offered him a spot in the Pacific Opera Victoria chorus for Eugene Onegin. There, the opera bug bit!

Aaron dove in, completing both a B.Mus and M.Mus at UBC, performing throughout B.C., China and the Czech Republic. A member of Vancouver Opera’s Yulanda M. Faris Young Artists Program for two seasons, Aaron performed a number of super cool roles in shows such as La bohème, Albert Herring, Don Giovanni and Carmen. Recently, he was seen as Masetto in Against the Grain Theatre’s sellout production of #UncleJohn in Ottawa. Upcoming engagements include the touring production of Stickboy with Vancouver Opera.

Alexander Hajek

Baron Mirko Zeta | baritone With a voice of “velvet beauty, warm tone and eloquent phrasing,” Canadian Alexander Hajek has appeared as Schaunard in La bohème and Leporello in Don Giovanni (Dresden Semperoper), as Melot in Tristan und Isolde and Ottokar in Der Freischütz (Stuttgart), as Sulpice in La fille du regiment (Seattle Opera) and as Morales in Carmen for the Canadian Opera Company, where he was a member of the Ensemble Studio. Alexander is a graduate of the Juilliard School of Music, where he completed his bachelor and master of music degrees. His awards include first prizes in the Louis Quilico Competition, the National Opera Association, the Oratorio Society of New York, the Liederkranz Competition and the George London Foundation.

Choreographer

Dave Ganert’s 36-plus years of dance training and instruction in ballet, contemporary, modern, character and Ukrainian dance can be seen in his work that has toured across Canada, the United States, Ukraine and China.

He joined the Ukrainian Shumka Dancers in 1991, and served as the resident choreographer (13 years), associate artistic director (seven years) and artistic director (six years). Highlights included A Royal Christmas with Julie Andrews, Christopher Plummer, Charlotte Church and Andrea Bocelli (touring production) and a collaboration with Jean-Marc Généreux for a tribute piece recognizing the struggle and celebrating the triumph of people living with multiple sclerosis (2010). He was recognized with Queen Elizabeth’s Diamond Jubilee Medal (2013) and was a performer and movement consultant for Edmonton Opera’s Eugene Onegin (2013).

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Artists’

PROFILES Tanya Roberts

Valencienne | soprano Tanya Roberts last graced the Edmonton Opera stage as Zweite Dame (Die Zauberflöte) and Ida (Die Fledermaus). Tanya returns to Edmonton from Vienna, where she is in the middle of a 10-month run as Susanna (Le nozze di Figaro) with Sound of Austria. She has performed over 40 roles throughout North America, Europe and the Middle East. Tanya made her solo debut with the Chicago Symphony in the Very Special Promenades Concert Series and as the Soprano I cover in Bach’s Mass in B Minor. Tanya is a native of Toronto and a graduate of McGill University.

Adam Fisher

Camille de Rosillon | tenor Adam Fisher charmed audiences as Alfred in Edmonton Opera’s Die Fledermaus 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 versatile young tenor include Kings on Broadway at Westben Arts Festival and Messiah with the National Arts Centre. In 2015/16, Adam debuts as Lysander in Britten’s Midsummer Night’s Dream with Pacific Opera Victoria.

Ron Long

Raoul de St. Brioche | tenor Ron is thrilled to be back with Edmonton Opera after last being seen as the Slave in Salome and the Messenger in Aida. Locally, he has performed such roles as Albin/Zaza in La Cage Aux Folles, Beadle Bamford in Sweeney Todd, First Officer Murdoch in Titanic the Musical, the Witch in Hansel and Gretel, and King Kasper in Amahl and the Night Visitors.

Ron is a member of the musical comedy group Il Duo, which regularly performs throughout Western Canada. He currently is a private voice instructor at MacEwan Conservatory Music at Alberta College Campus and at MacEwan’s theatre arts program.

Dion Mazerolle

Bogdanowitsch | baritone Acadian Dion Mazerolle has received critical acclaim for his musical finesse and powerful stage presence in a wide range of opera and concert settings. Appearances include Opera Lyra Ottawa’s Tosca, Chabrier’s L’étoile with Société d’art lyrique de Royaume and as The Father in Charpentier’s Louise (Toronto’s Opera in Concert). Dion portrayed the Four Villains in Les contes d’Hoffmann with Opera-Theatre de Rimouski. In 2016, Dion is a guest soloist in Bach’s Easter Oratorio with Montreal’s Ensemble Caprice.

Geoffrey Sirett Kromow | baritone

Geoffrey Sirett continues to impress musicians and audiences in debut performances in opera, concert and recital repertoire. Recent career highlights include William Dale in Kevin Puts’ Silent Night for Opera Montreal, Adams’ The Wound Dresser for the Victoria Symphony and Messiah for the orchestras of Winnipeg and London. He premiered The Bells of Baddeck in Nova Scotia and looks forward to Brander in Damnation of Faust for Calgary Symphony.

Geoffrey holds degrees from the University of Toronto and the University of Western Ontario. The Kingston native is the winner of the Jim and Charlotte Song Prize and his solo album, Vagabond, is devoted to Art Songs in English.

Barbara King

Olga | mezzo-soprano Barbara King, born in Montreal and based in Calgary, has appeared as Carmen (Carmen), Dorabella (Così fan tutte), Maddalena (Rigoletto), Donna Elvira (Don Giovanni), Romeo (I Capuleti ed I Montecchi), Charlotte (Werther) La Zia Principessa (Suor Angelica), Berta (Il Barbiere di Siviglia), Mistress Quickly (Falstaff) Third Lady (The Magic Flute), Frugola (Il Tabarro) and Laura (La Gioconda). Barbara has performed with Calgary Opera, Opera Kelowna, Opera NUOVA, Tuscia Opera Festival in Italy, Amalfi Coast Music Festival in Italy, Barrie’s Colours of Music Festival, Mercury Opera, Cowtown Opera, Calgary Concert Opera Company and Opera by Request. This is Barbara’s Edmonton Opera debut as Olga.

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Artists’

PROFILES Jacques Arsenault Pritschitsch | tenor

Jacques Arsenault began his musical career as a virtuoso accordionist before pursuing vocal studies, receiving a bachelor of music at the University of Prince Edward Island and a master’s in music from the University of Alberta. Following the transition from baritone to tenor, Jacques has performed the role of Monostatos in Mozart’s The Magic Flute and Gastone in La Traviata (both at Newfoundland’s Opera on the Avalon). Jacques debuts with Calgary’s Cowtown Opera in 2016 in Archie, a cool opera hybrid show.

Jason Hardwick Njegus

Jason is an Edmonton-based actor, improviser and dancer. He is an alumnus of the MacEwan theatre arts program and since then has worked throughout Western Canada and as far as Alaska and Mexico when he was dancing with Princess Cruise Lines. Some favourite credits include Mary Poppins (Globe Theatre), April in Peril (Acme Theatre), A New Brain, Mack and Mabel, Little Fish and Bells are Ringing (Plain Jane Theatre Company), Chicago and All Shook Up (Stage West Calgary), and Hairspray, Chicago and Dirty Rotten Scoundrels (Mayfield Dinner Theatre). Jason can be seen Monday nights at Die-Nasty at the Backstage Theatre (the Varscona’s temporary home) and upcoming at the Capitol Theatre’s Sound of the Movies.

Sally Dibblee

Hanna Glawari | soprano Most recently Sally Dibblee debuted the role of Anna Sorensen in the Canadian premiere of Silent Night by Kevin Puts (Calgary Opera) to great critical acclaim. Engagements for 2013/14 included Lady Billows in Albert Herring (Vancouver Opera) and Cio-Cio San in Madama Butterfly (Calgary Opera). On the concert stage, she was the soprano soloist with Symphony New Brunswick in Beethoven’s Ninth Symphony. Currently, Sally teaches voice at her alma mater, Mount Allison University, and is in demand as a masterclass lecturer and adjudicator.

Michael Nyby

Count Danilo Danilowitsch | baritone A native of Hamilton, Ontario, Canadian-American baritone Michael Nyby has performed extensively in opera and concert across Canada and the United States. A successful interpreter of new music, Michael has created the roles of William Dale in Silent Night (Minnesota Opera, 2011), Brent Colgate in Georgia Bottoms (Huntsville Symphony Orchestra, 2015) and Demetrio in the American premiere of Il Sogno (Opera Ithaca, 2015). This season, Michael will be creating the role of Seth in the upcoming premiere of the new Canadian opera Isis and Osiris with Opera in Concert. He recently appeared in Edmonton as Young Ralph in The Last Romance with the Mayfield Dinner Theatre.

Geoff George Lighting Designer

Geoff is pleased to be returning to the Edmonton Opera. His work has been seen on this stage for Pirates of Penzance, La bohème, The Mikado, Eugene Onegin and The Barber of Seville. Beginning his career as a lighting technician at the Shaw Festival and working mainly as a lighting designer, Geoff has designed over 200 productions for Carousel Players, Theatre New Brunswick, Neptune Theatre, Northern Light Theatre, the Mayfield, Brian Webb Dance, Mile Zero Dance, Kurt Browning, Leave It To Jane Theatre and last, but not least, Grant MacEwan University, where he recently retired as chair of the award-winning theatre program.

Robert Smale Sound Designer

Bobby Smale is a theatre professional from Edmonton. Primarily he is a sound designer, but is also known to design lighting and projections, and production manage and technical direct for theatre, live events and festivals. One of his credits include lighting design for Kill Your Television’s Victor and Victoria’s Terrifying Tale of Terrible Things. Sound design credits include Edmonton Opera’s productions of The Magic Flute, Die Fledermaus and The Mikado, sound and media design for Keyano Theatre’s The Blue Light in Fort McMurray, and lighting and projection design for Next Year’s Man of Steel (Shadow Theatre). Currently he is working at MacEwan University as a designer and sessional instructor.

the merry widow 29

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Artists’

PROFILES Leanne Regehr Repetiteur

Pianist Leanne Regehr earned a doctor of music degree in piano performance from Northwestern University and is currently based in Edmonton, where she serves on the faculties of the University of Alberta and The King’s University. Leanne has been engaged as a repetiteur with Shreveport Opera, Mercury Opera and Edmonton Opera. Her dedication to the development of young singers has been recognized through her work as a faculty member with Opera NUOVA, as a staff pianist for Sherrill Milnes’ VOICExperience Program in Florida, and as a coaching fellow at the Aspen Music Festival. Leanne enjoys her freelance career as a soloist, vocal coach, recital partner and adjudicator.

Ha Neul Kim

Rachel Dawn Woods Assistant Stage Manager

Rachel is a proud Maritimer and graduate of the National Theatre School and St. Thomas University.

Select stage management credits include Travesties, The Graduate and Guys and Dolls (Segal Centre), Bears (Pyretic Productions), A Christmas Carol and Gifts of the Magi (Theatre New Brunswick), A Midsummer Night’s Dream (Opera on the Avalon), Blind (Scapegoat Carnivale), Sedna: Goddess of the Sea (Tableau D’Hôte), Dear Johnny Deere (Blyth Festival, Lighthouse Festival), Falsettos (Acting Upstage), Don Giovanni (Glenn Gould School), The Leisure Society (Infinithéâtre), Ed’s Garage and Footloose (Grand Theatre), and Romeo and Juliet (National Arts Centre).

Al Gadowsky

Stage Manager

Assistant Stage Manager

The 2015/16 is Ha Neul Kim’s 14 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 also teaches opera stage management at the University of Alberta. th

Al is thrilled to be making his Edmonton Opera debut. Al has apprentice stage managed Monty Python’s Spamalot, Make Mine Love and Avenue Q (Citadel Theatre). Other stage management credits include Working It Out (Alberta Workers’ Health Centre), Midsummer: A Play with Songs (Broken Toys Productions), A Bronte Burlesque and The Hollywoodland Burlesques (Send in the Girls Burlesque), and Gidion’s Knot, The Unseen and A Picasso (Chorus Productions). He is a graduate of the BFA stage management program at the University of Alberta. Al would like to thank his family and friends for their continuing love and support.

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the merry widow 31

for everything!

Edmonton Opera chorus

and supers

Sopranos

Mezzo-sopranos

Tenors

Basses/Baritones

Supers

Janine Brémault Bamford Natasha Da Fonseca Jill Hoogewoonink Betty Kolodziej Christina O’Dell Cristina Weiheimer

Sable Chan Seang Youn Choi Dilys Kulchitsky Joyce LaBriola Patrece Maluzynsky Krista Mulbery Karen Zabinski

Garreth Borgstrom Mathew Glenn Cameron Douglas Graham Cole MaCIver Robert Rock Dan Rowley

Ivan Fedyna Nick Horobec Greg Maluzynsky Andrae Marchak Francis Price John Yun

Laura Stachniak* Larissa Sulyma* Kathleen Symborski* Erin Vandermolen Pater* Andrew Wolchuk* Zane Zimmerman* *Ukrainian Shumka Dancers

Edmonton Symphony orchestra William Eddins, Music Director Violin 1

cello

horn

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

Rafael Hoekman Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin Amy Nicholson

Megan Evans Shamilla Ramnawaj Gerald Onciul Donald Plumb

Violin 2 Susan Flook Heather Bergen Zoë Sellers Robert Hryciw Tatiana Warszynski Yue Deng Christine Yu Marie Krejcar

bass Jan Urke John Taylor Janice Quinn Rhonda Taft

trumpet Robin Doyon Frederic Payant

Trombone

Bass Trombone

Elizabeth Koch Shelley Younge

Christopher Taylor

Oboe

Barry Nemish

Viola

clarinet

Stefan Jungkind Charles Pilon Clayton Leung Rhonda Henshaw Jeanette Comeau Martina Smazal

bassoon

David Quinn Echo Mazur

Eric Filpula

Librarian Aaron Hawn

ESO Production Staff Jerrold Eilander Mike Patton

John McPherson Kathryn Macintosh

flute

Lidia Khaner Paul Schieman

Orchestra Personnel Manager

tIMPANI Percussion Brian Jones John McCormick Brian Thurgood

Harp Nora Bumanis

Matthew Howatt Edith Stacey

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the merry widow 35

Arrive early to 124 Street on the weekend, and you might be lucky enough to beat the lineup that will inevitably stretch out the door of Duchess Bake Shop, as Edmontonians queue to get their morning coffee, tea and pastries.

Garner Beggs, Giselle Courteau and Jacob Pelletier opened the bakery in October 2009, but opening Duchess itself wasn’t their last big project.

In the past six years, their subsequent projects have built on each other — first came Provisions, a cozy, rectangular shop next door.

Ingredients, baking utensils and cookbooks used in the Duchess kitchen line the walls here, including Courteau’s 288 pages of popular Duchess recipes. Published last winter, the cookbook recently won the single-subject category at the Taste Canada Food Writing Awards, and took second place at the Gourmand World Cookbook Awards, beating out 84 other countries.

“The idea was that Provisions was the first step in giving people access to reasonably priced, top-quality ingredients,” Beggs said.

“Then the cookbook gave people the resources to learn about making those recipes at home. Now the teaching kitchen [in the works] is the final piece of that puzzle, to give people the hands-on training and the expertise required.”

Beggs has also said that their goal was to create a central community hub, encouraging people to experience their larger, greater city.

More than that are certainly coming to the bakery — they have visitors from across Canada, including Calgarians who make a day trip from southern Alberta just for a galette or macron gâteau.

Duchess Bake Shop has also been named to the fourth spot on BuzzFeed’s 23 Bakeries Around the World You Need to Eat At Before You Die, the only Canadian establishment to make the list.

Proud suppor ters of the Edmonton Opera

36 the merry widow

Creating There are hundreds of images of the same bullring in Spain, but it was the particular perspective

From that photo, Lamont, along with scenery designer Camellia Koo and costume designer Deanna Finnman, worked backwards to create a new production that places the action within the tumultuous years leading up to the Spanish Civil War.

“The interesting thing is that Bizet, as a Frenchman, wrote incredible Spanish-sounding music,” Dala said. “The colourings of the score are really what [have] carried the opera for 140 years. The characters are beautiful, they’re universal characters — you have this Carmen who has an agenda, and just burns everything around her for what she wants.”

Not only does the growing political tension at the time heighten Carmen’s dangerous and daring atmosphere, but Lamont also drew a parallel on a deeper level.

For Finnman to create costumes that are extensions of the characters’ actions, Lamont explained that the design team had to get inside the characters’ heads.

“It struck me as a metaphor for the relationship between Don José and Carmen,” she said. “What happened in Spain in the ’30s was incredibly destructive, it was a great tragedy — even though one side technically won, the country lost.”

“For Carmen, I didn’t want her to be a conventional seductress, but she has to be incredibly attractive,” Lamont said. “We have to understand why she radiates this charisma and draws everyone to her.”

of one photograph that caught Maria Lamont’s attention when doing research for Edmonton Opera’s new Carmen.

“I love that image of the audience and the bullring, and there’s this place in between, this curve that connoted to me fate and destiny, and was such a big part of the story as well, so it was just a multi-layered image that spoke very clearly to me,” said Lamont, the director for the January 2016 production.

“It’s one of those pieces, brilliantly constructed and beautifully orchestrated; it has everything going for it.” – Director Maria Lamont Peter Dala, who will conduct Géraldine Chauvet (Carmen), Jeffrey Gwaltney (Don José), Gregory Dahl (Escamillo), Lida Szkwarek (Micaëla) and Catherine Daniel (Mercedes), along with the Edmonton Symphony Orchestra, added that Bizet’s composition has ensured the opera’s longevity.

38 the merry widow

The conversation between scenery and costume design is constantly ongoing, Koo added, noting that if Finnman knows what Koo is planning and vice versa, the process is that much smoother. Since the three women live in different cities, they found an unorthodox solution to document their visual research and inspirations.

Costume design: Deanna Finnman

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“I’d never used Pinterest before, and now I’m a Pinterest addict,” Finnman said with a laugh. “It’s fantastic. There’s only so much you can say verbally, whereas a visual gives a much clearer interpretation of what you want.”

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In her research, Finnman captured an overall idea of what people were wearing at the time, before starting to look at individual characters. She has also read a lot about toreador jackets, and though she said she’s far from being an expert, the intricacies of the jackets are extraordinary.

“They have to look beautiful, and there’s a lot of history in them, but they also have to perform functionally,” she said. “[The toreadors] have to be able to move in them, wear those tight pants and be able to do lunges and kicks, and apparently it’s a challenge to get the blood out. So they have all the same challenges that we do in theatre, in a way — it’s a theatrical experience.”

That description of beauty, history and functionality also works for what the design team is trying to bring to this Carmen — as perhaps the world’s most famous opera, it’s always worth re-experiencing.

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“It’s one of those pieces, brilliantly constructed and beautifully orchestrated; it has everything going for it,” Lamont said.

Let us show you how.

“You come out, not only whistling the tunes, but you feel like you’ve been through something that tells you about life today, and that’s why we go to theatre.”

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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.

W

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.

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 Lauren Hyatt, Events Coordinator and Donor Relations, at lauren.hyatt@edmontonopera.com or 780.392.8714.

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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Trusted advisors for over 80 YEARS! WITTEN LLP | 2500 Canadian Western Bank Place | 10303 Jasper Ave., Edmonton, AB Phone: 780-428-0501 | Fax: 780-429-2559 | www.wittenlaw.com 42 the merry widow

Rob hood fund

Dr. Irving Guttman, artistic director emeritus of the Edmonton Opera (1928 – 2014), shared his memories of Mr. Hood.

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.

In the 2015/16 season, Géraldine Chauvet brings her worldrenowned performance of Carmen to Edmonton thanks to a gift from the Rob Hood Fund; appearances by fellow artists Jeffrey Gwaltney (Don José) and baritone Gregory Dahl (Escamillo) are also funded through this gift. In April 2016, gifts from the Rob Hood Fund will be applied to the three principal artists in Maria Stuarda: Keri Alkema (Elisabetta), Diego Silva (Leicester) and Kathryn Lewek (Maria), who is considered the world’s reigning Queen of the Night.

Previous gifts from the Rob Hood Fund have been awarded to Metropolitan Opera stars Angela Brown and Carl Tanner (Aida, October 2012) and Anne-Sophie Duprels (Madama Butterfly, April 2014).

“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.”

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w w w.u n d e rth e h i g h w h e e l .co m 8135 – 102 Street, Edmonton, AB | 780.439.4442 44 the merry widow

edmonton opera board of directors

2015-2016 season

Richard Cook, Chair Francis Price, Vice Chair Ken Keenleyside, Treasurer Irv Kipnes, Past Chair Robert Bessette Danisha Bhaloo Jennifer Brown

Mary Clonfero Craig Corbett Mary-Lou Hamilton

Melanie Nakatsui Bernie Robitaille Robert Rock

edmonton opera staff Executive

Tim Yakimec, General Manager & Artistic Director*

Finance

Debra King, CFO Serene Yau, Accountant

Community Relations

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

Fund Development

Gwen Horvath, Director of Fund Development Jennifer Hinnell, Grants Officer Lauren Hyatt, Events Coordinator & Donor Relations Celyne Runzer, Fund Development Assistant

Box Office

Joanne Madeley, Box Office Manager Katie Gallin, Box Office Clerk

Artistic Administration

PRIME SOUTHEAST EDMONTON TOWNHOMES NOW SELLING

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

Production and technical

Clayton Rodney, Production & Technical Director* Kris Aasen, Production Coordinator Greg Brown, Head Scenic Carpenter & Shop Supervisor Deanna Finnman, Head of Wardrobe & Resident Wardrobe Designer* Megan Kumpula, Head of Properties Kathy Cooper, Assistant Head Carpenter Mikael Gustafsson, Carpentry Intern Brenda Inglis, First Assistant Wardrobe* Ava Siemens, First Stitcher* Judith Darough, Cutter Kathleen Mulder, Dyer Michelle Warren, Stitcher* Kathryn Neuman, Stitcher* Genevieve Savard, Stitcher*

Production and technical Stage Crew

Current. Cultured. Rooted.

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Proud sponsors of the Edmonton Opera

PROUDLY BUILT BY

it’s what’s inside

Geoff Bacchus, Head Stage Carpenter* Kathy Cooper, Assistant Stage Carpenter Al Kliss, Head Fly* Alison Hardy, Head Electrics Joseph Race, Assistant Electrics Megan Kumpula, Head of Properties Theresa Grant, Assistant Properties Robert Smale, Head of Sound Alan Wightmore, Assistant Head of Sound Danine Regenwetter, Head Wardrobe Dresser* Kathryn Neuman, Assistant Wardrobe Dresser* Nicole Deibert, Dresser Cathy Nicoll, Head Make-up* Noreen Jani, Assistant Make-up Judy Morley, Head Wigs & Hair* Nancy Horn, Wigs & Hair*

Samantha Rumball, Wigs & Hair Pat Mackenzie, Supertitle Cuer

Nanc Price, Volunteer Photographer

*10 years or more of service to Edmonton Opera.

the merry widow 45

�pcoming

events

Dec. 1, 2015 Give back to charities and non-profits in the city on Giving Tuesday — it’s easy! Edmonton Opera is working with Kids Up Front, so that for every $20 donation made on Dec. 1, EO will provide a child’s ticket, and for every $100 donation made on that day, provide tickets to families who otherwise wouldn’t have access to arts and cultural opportunities.

Jan. 13, 2016 Opera 101 returns this season at CKUA in the beautifully restored Alberta Hotel at 9804 Jasper Ave. Join us for refreshments and a multi-disciplinary panel discussing the context of Carmen, Jan. 13 at 7 p.m. This is a complimentary event but please RSVP your space ahead of time.

Jan. 17, 2016 Treat yourself to Sunday Opera Brunch at the Royal Glenora Club, where the cast of Carmen performs memorable repertoire in an intimate setting, with a wonderful view of the river valley.

Jan. 28, 2016 The education dress rehearsal allows students to experience opera firsthand.

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

Jan. 30, Feb. 2 & Feb. 4, 2016 Edmonton Opera presents Carmen, a dangerously seductive tale where the fates of a sultry gypsy, a conflicted soldier and a dashing toreador collide.

Feb. 11, 2016

Opera is alive and in living Technicolour at the annual Valentine’s Gala. We invite you to join us for a romantic evening with dinner and entertainment at the Shaw Conference Centre.

For more information or to purchase tickets to any of these events, please contact the box office at 780.429.1000 or visit edmontonopera.com.

46 the merry widow

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