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contents

EUGENE ONEGIN • Tchaikovsky

4 Message from Sandra Gajic, CEO

Message from Irv Kipnes, Chair

7 Composer Bio

Cast and Production Credits

8 Director’s Message

10 Synopsis

12 Program Notes

15 Artists’ Profiles

30 Production Sponsor –

38 Opera al Fresco

47 PCL Golf Classic

51 Edmonton Opera Chorus

and Orchestra

53 Edmonton Opera Board and Staff

55 Director’s Circle

56 Friends of Edmonton Opera

61 Endowment Fund

Francis Price and Marguerite Trussler 32 In Memoriam – Howard Irving

Administration Office: 9720 102 Ave., Edmonton, AB T5J 4B2 Ph: 780-424-4040 Fax: 780-429-0600 Email: info@edmontonopera.com www.edmontonopera.com

64 Partners and Sponsors 66 Upcoming Events

The Edmonton Opera magazine is published by Playhouse Publications Ltd. 950 Bell Tower 10104-103 Ave., Edmonton, Alberta T5J 0H8 Ph: 780-423-5834 • Fax: 780-413-6185 • www.playhousepublications.ca

GOVERNMENT & FOUNDATION SUPPORT

Message from

SANDRA GAJIC, CEO

Message from

IRV KIPNES, CHAIR

Welcome to our final production of the 2012/13

Each opera this season has offered something

Stories in opera have a distinct tone, but at their core, they are familiar stories to us, relevant to our human condition over the centuries. In this case, it’s the “romantic plunge” that Tatiana takes, spilling her thoughts for Onegin into a heartfelt letter, without knowing if the feelings are mutual. One of the Russian classics, this opera captures the beauty of expressing unmatched emotion, and the gorgeous elements of dance and music Tchaikovsky was known for.

We are thrilled that you have joined us for Eugene Onegin, the final opera of the 2012/13 season. With the variety of productions this year, it has been wonderful to see both new opera-goers and longtime patrons attend and start conversations about what they are seeing on stage.

season, Eugene Onegin. The beauty of the language in Alexander Pushkin’s novel in verse of the same name is preserved in the libretto, which sets the stage for a tale of broken dreams and wasted love.

Onegin killing his best friend is only one of the tragedies in this story. Before the duel, when Lenski considers how he has wasted his life, the aria that he sings is one of the most heartwrenching pieces in opera. And overall, the tragedy of this story is a love out of sync, where Tatiana and Onegin become two ships passing in the night. Just as much thought and attention has gone into next season’s programming, with the scandalous, seductive and shocking Salome, followed by Die Fledermaus, a sparkling comedy in three-quarter time. As part of our 50th anniversary celebrations, we will return to where we started in 1963, with Madama Butterfly as the spring production. For our 50th anniversary, we are asking our audiences to “Consider this just the overture,” because we are so excited about where we will continue to grow in the coming seasons. Right now, we hope you will consider a 2013/14 subscription and join us for next season’s fascinating operas.

4 EUGENE ONEGIN

slightly different, whether it is the grandness of ancient Egypt, the metaphor of a child as the atomic bomb, the universal rite of passage of marriage, or love driving a man to drink.

The Edmonton Opera continues to be an integral piece of Edmonton’s arts and culture through its mainstage productions, in addition to presenting opera in community-based locations, its presence at other events year-round, its strong social media activity and its vibrant young adults’ programs. In return, the support from the community has been outstanding — through attendance at productions, donations and other in-kind support, which both the opera company and board of directors is always grateful for. Opera is one of the most spectacular art forms, and less than 50 per cent of our budget is covered by ticket sales and government support. This leaves at least 50 per cent to be raised through donations, both corporate and individual. With our 50th anniversary next season, we hope you will consider joining us as a season subscriber, as a donor or as a sponsor, but above all, as a supporter of the arts, for performances of Salome, Die Fledermaus and Madama Butterfly.

Photo: Nick Heavican/Metropolitan Opera

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Composer

Edmonton Opera presents

BIOGRAPHY

eugene onegin April 19, 21, 23 & 25

Pyotr Ilyich Tchaikovsky

One of the most well-known Russian composers, Pyotr Ilyich Tchaikovsky was born May 7, 1840, in Votkinsk, a small town in present-day Udmurtia, Russia. He had four brothers and a sister, and a half-sister from his father’s earlier marriage. His father was an engineer, and while Tchaikovsky showed musical aptitude at an early age, his parents steered him towards a career in civil service. While attending law school in St. Petersburg, Tchaikovsky continued to take music and composing lessons when available. When he graduated, he took a job as a bureau clerk, but disliked it. He soon became a student at the St. Petersburg Conservatory, run by Anton Rubinstein. After graduating in 1865, Anton’s brother, Nikolai Rubinstein, offered Tchaikovsky a job teaching music theory at the Moscow Conservatory. During this period, Tchaikovsky composed Fatum and Romeo and Juliet, his first two works showing the style that he would become famous for — a combination of his formal Western-oriented training with the Russian style he had been exposed to all his life. His training at the conservatory sets him apart from “The Five”: Mily Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. In 1877, Tchaikovsky became involved with and would later marry Antonina Ivanovna Milyukova, one of his composition students at the conservatory. Parallels of the letter that Tatiana wrote to Onegin can be found in Tchaikovsky’s personal life, because although Tchaikovsky first told Antonina he could only offer her brotherly love, the two announced their engagement in May 1877. Already struggling with his homosexuality — which he kept a secret throughout his lifetime — Tchaikovsky lived with his wife for only a few weeks before leaving for his sister’s estate in Ukraine, and then continuing to travel. He did not see Antonina again. She outlived Tchaikovsky by 24 years, though she spent 20 of those years in an insane asylum. From 1877 to 1884, Nadezhda von Meck, a wealthy widow with a passion for Tchaikovsky’s music, sent him a monthly stipend. The two also exchanged letters from 1877 to 1890, and Tchaikovsky’s words essentially serve as his diary from that time. His work includes symphonies, concertos, opera, ballets and chamber music. His music made a lasting impression internationally, and later in his career he toured Europe and the United States. One of such guest conductor appearances included the inaugural concert at Carnegie Hall in New York, in 1891. Considered to be one of the world’s greatest composers today, Tchaikovsky experienced much popularity and success during his lifetime. However, he also experienced bouts of depression, and explanations of his death include suicide and contracting cholera. He died on Nov. 6, 1893, in St. Petersburg, and the cause of his death is still debated.

Production sponsored by Francis Price and Marguerite Trussler Music by Pyotr Ilyich Tchaikovsky Libretto by Konstantin Shilovsky Premiere: March 29, 1879, Moscow Maly Theatre

Conductor Director

James Meena Tom Diamond

The Cast (in order of vocal appearance)

Tatiana Olga Larina Filippyevna Lenski Eugene Onegin Triquet Captain Zaretski Prince Gremin

Dina Kuznetsova Maria Kataeva Olga Savova Emilia Boteva Andrej Dunaev Aleksey Bogdanov James McLennan Stephen Hegedus Jon-Paul Décosse Ilya Bannik

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

Choreographer Scenery designed by Costumes designed by Costumes executed by Costumes originally designed for and created by Lighting Designer Videographer Chorusmaster Repetiteur/Russian language coach Movement Consultant/Artistic Director, Shumka Dancers/Guillot Stage Manager Assistant Stage Manager Assistant Stage Manager Apprentice Assistant Stage Manager Apprentice Assistant Stage Manager

Brian Webb Edmonton Opera Isabella Bywater Seattle Opera Costume Shop Santa Fe Opera Geoff George Katrina Beatty, Loud Whisper Productions Michael Spassov Joseph Fridman Dave Ganert Ha Neul Kim Gina Moe Anna Davidson JoAnna Black Erin Valentine

There will be one 20-minute intermission between Acts 1 and 2 and one 15-minute intermission between Acts 2 and 3. The performance is approximately 2 hours and 55 minutes, including intermissions. Projected titles by James Meena 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.

Message from

the director

I’ve discovered an intriguing truth about the opera world: everyone in this industry loves Eugene Onegin. Anyone who is seriously invested in opera seems to hold this work in great esteem. Since I took on this project a year ago, all my colleagues, without exception, swoon when I tell them I am working on it. Why, you might wonder? Music and love go hand in hand. The passion of love, in all its vicissitudes, is what this story is about. And no one articulates the dark ache of the unhappy soul better than the Russians! Considered one of the great classics of Russian literature, its young author, Alexander Pushkin, died an untimely death at age 37 (interestingly enough from a duel, the 29th he was involved in during his short life). That event was considered a catastrophe for Russian literature. In 1879 Maestro Tchaikovsky

8 EUGENE ONEGIN

set it operatically with intoxicating magnificence. It is the dream of every singer (and conductor and director) to sink their teeth into it! I am delighted to be making my debut both with this company and with Onegin. I am blessed with a first-class cast, many of them native Russian speakers. I also have wonderful creative partners — choreographer Brian Webb, lighting designer Geoff George and conductor James Meena. If you look closely, you will see that Maestro Meena, amazingly, conducts this opera from memory! The company supports a vision of this opera, as you will see, that strips away many standard operatic trappings to get straight to the heart of this trusted and beloved story. I am grateful for this ride and hope you feel gratified at the end of yours. – Tom Diamond

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SYNOPSIS

Act I, Scene 1

Act II, Scene 1

The garden of the Larin country estate

The ballroom of the Larin house on Tatiana’s name-day

Eugene Onegin’s uncle has died suddenly, willing his nephew a large country estate. Onegin’s recent move to country life only underscores his boredom with cosmopolitan pleasures and general resentment of humanity. In spite of his disgruntlement, Onegin befriends the young poet Lenski, who introduces Onegin to Larina, a country-estate owner with two daughters, Olga and Tatiana. Larina, sitting outside with the family nurse, recalls her youth which she spent listening to her Moscow cousin regale her with tales of romantic novels by Richardson, nostalgically reflecting on male characters such as the virtuous Charles Grandison and the villainous Lovelace. So, when Larina observes Tatiana absorbed in a romantic novel of her own, she warns her daughter that real life is seldom like the stories they read. Lenski and Onegin arrive. Onegin is surprised that the serious and intense Lenski is Olga’s fiancé, given her cheerfully outgoing yet superficial personality. Tatiana is immediately attracted to Onegin. Tatiana’s character, the opposite of her sister, responds to Onegin as a fulfilment of her dreams, inspired by the romantic novels she has been reading.

Scene 2 Tatiana’s bedroom Tatiana is distracted and confides in her nurse that she is in love. Later, alone, she writes a letter to Onegin. In this famous letter scene, Tatiana realizes that she is fatally attracted to Onegin, and overcomes her doubts that he might reject her. She pours out her feelings, in effect asking if Onegin could ever be married to her. Tatiana requests her nurse send the letter to Onegin.

Scene 3 Later, elsewhere on the Larin estate Onegin has arrived in response to Tatiana’s letter and to give her his answer. He is greatly moved by her feelings, yet despite his awakenings to a new, less cynical sensibility, he explains somewhat gently that he could not be the best type of husband to her, and so should not marry. He continues, almost lecturing Tatiana now, telling her that love does not come easily to him. Although Tatiana is overwhelmed and cannot respond, it is clear her heart has been crushed at Onegin’s seeming willfulness to continue his solitary life.

10 EUGENE ONEGIN

Onegin has been urged to come to the name-day celebration; however he is intensely irritated with the guests and their penchant for country gossip about him and Tatiana. He contemplates revenge on Lenski for persuading him to come to the event. Onegin begins flirting with Olga, making Lenski extremely jealous and outraged. Olga welcomes Onegin’s attention, apparently indifferent to her fiancé Lenski, who judges that she is attracted to Onegin. Tatiana’s foppish French tutor Monsieur Triquet sings some verses in honour of her, after which the quarrel between Lenski and Onegin boils over and the company can no longer ignore it. As the quarrel escalates, Lenski renounces his friendship with Onegin, and finally challenges Onegin to a duel. Spurred on by Zaretski, a local landlord, Lenski decides that reconciliation is now impossible with his former friend. Although Onegin initially refuses the duel, thinking Lenski mad, he is finally socially obligated to accept it, against his better judgment. This scene comprises a remarkable social commentary in opera history against the foolhardiness of the duelling tradition.

Scene 2 Early next morning near a river in the woods While Lenski waits for Onegin, he sings of Olga and how much he loves her. He is filled with uncertainty and dread about what is to come. Onegin arrives, and both men are reluctant to go ahead with the duel but feel they have come too far to stop it. Lenski is shot dead with one bullet through the chest.

by Stephan Bonfield Writer/musicologist

Make your rooms

Act III, Scene 1 St. Petersburg, three years later at a ball given by Prince Gremin After travelling extensively all around Europe, Onegin feels emptiness in life’s pleasures and is remorseful over Lenski’s death. Prince Gremin enters with his wife, Tatiana, who is now transformed by her new aristocratic position into a woman of great refinement and beauty. Gremin sings of his happiness with Tatiana, and reintroduces Onegin to her. Onegin is shocked to find Princess Gremina is really the Tatiana he knew from the country years ago. He is impressed and overcome by her sophistication and worldliness.

Scene 2 A reception room at Gremin’s house

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Now, Onegin realizes he is in love with Tatiana, and sends her a letter. Onegin enters and begs for her love and pity. Tatiana wonders why Onegin’s attraction should be so strong now, but not when he first met her three years ago. But, Onegin defends his attraction as genuine. Tatiana weeps, thinking about how close they had been at one time, and that they could have been happy together. Even though she rejects Onegin’s advances, stating that she is a married woman now, she eventually reveals her true feelings and tells Onegin that she loves him still. However, now she is obligated to her duty as a wife, even to a man she does not really love. Onegin is left alone, his heart crushed, in despair.

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EUGENE ONEGIN 11

PROGRAM NOTES EUGENE ONEGIN Pyotr Ilyich Tchaikovsky (1840-1893) Alexander Pushkin (1799-1837) was the godfather of Russian opera. Over 50 of his verse stories, dramas and poems have been turned into operas by composers from Glinka to Stravinsky, from fairy tales (Rimsky-Korsakov’s Golden Cockerel) to epics (Mussorgsky’s Boris Godunov). He himself loved opera (and often opera singers), and drew on opera plots and libretti for some of his own stories. His own play Mozart and Salieri was not only turned into an opera (by Rimsky-Korsakov), but was the inspiration for Peter Shaffer’s movie Amadeus. It is, then, perhaps no coincidence that the two best-known of Tchaikovsky’s 10 published operas, Eugene Onegin and The Queen of Spades, should be based on Pushkin. The idea for Onegin came from a soirée Tchaikovsky attended in May 1877. The talk was of suitable subjects for operas, and someone suggested Eugene Onegin. Tchaikovsky thought it a “wild idea,” but, on leaving the soirée, managed to borrow a copy of Pushkin’s verse novel and that night read it from beginning to end. The next day he asked Konstantin Shilovsky to be his colibrettist, and the opera was born. Then, almost immediately (and probably influenced by Pushkin’s tale), there occurred the most extraordinary and traumatic incident in the 36-year-old composer’s life. Tchaikovsky was a homosexual, but also a Romantic idealist ridden with guilt. In an age when homosexuality was a crime, he was determined to get married. He started to receive passionate letters from an even more neurotic personality, a beautiful 26-year-old nymphomaniac music student named Antonina Milyukova. The parallel with Onegin receiving Tatiana’s letter was uncanny, but Tchaikovsky had little sympathy for Onegin’s rejection of Tatiana, and was not going to emulate him. Instead, he went to see Antonina. He was inveigled by her charms, her persuasions and her threats (including suicide), and although he told her he did not love her, they were married on July 18, 1877. Antonina knew of Tchaikovsky’s homosexuality, but thought she could win him over. Predictably (and as his brother Anatol had warned), the marriage was a disaster. Five days after the event, Tchaikovsky wrote that “physically she is totally repulsive to me.” On Aug. 7, 1877, he fled to his sister’s estate in Kamenka, never to see his wife again. When he returned to Moscow, Tchaikovsky attempted to drown himself, and then had a complete breakdown. Thanks to the generosity of his patron, Nadezhda

12 EUGENE ONEGIN

von Meck, and the good sense of Anatol, he was taken first to Switzerland, and then to Italy, recovering enough to return to Russia in the spring of 1878. Eugene Onegin was completed at the end of 1878, and premiered at the Moscow Maly Theatre on March 29, 1879. In the words of Nicholas Payne, the whole incident was “a lamentable example of life failing to imitate art,” but it goes far to explain the power and potency of the opera. The libretto may lack the sheer beauty of Pushkin’s original, but it compresses it effectively into a form suitable for opera and into words suitable for singing. The letter scene, for example, gains from its new context: it is preceded by the gloom of the conversation with the nurse, Tatiana gradually getting more agitated, and linked by a little passage that shows us that Tchaikovsky had recently visited Bayreuth. The passage that follows the letter is a reverse of the opening (again ending with Wagnerian overtones), so that the whole scene is an arc. Throughout the opera, there is a distinct formal progression of setting that matches the psychological development of the characters. The background to the first act is the lonely expanse of the Russian land that Tchaikovsky loved. The milieu of Act II is slightly more sophisticated: a dance attended by the local gentry, but rural gentry. In the third act we arrive at the aristocratic cosmopolitan world of St. Petersburg, with its glittering ball. Tchaikovsky reflects these unfolding scenarios in the contextual music, especially for the extensive chorus, who move from folk-influenced peasant songs, so steeped in Russian tradition, to the waltz-world of the great city. Throughout these settings are images of dreams. Onegin is the fulfilment of Tatiana’s dreams when she first sees him, and in the face of such an infatuation his response is full of good sense. But in the last act he himself falls prey to exactly the same emotion. He is infatuated with a “queen,” Tatiana herself, now married to Prince Gremin. It is very difficult to believe, as is sometimes claimed, that he suddenly realizes he was in love with her all along, for nothing in the libretto or music suggests that. It is the context that has changed his attitude: “Can this be Tatiana?” he sings. “... impossible ... What, from the remote settlement in the steppes?” Tatiana is now wise enough to lay out the reality to him.

by Mark Morris If infatuation underlies the dreams of Tatiana and Onegin, the other couple, Lenski and Olga, are more pragmatic: they have known each other since childhood and are aware of each other’s characters. But Lenski is a poet, and it is his passionate feelings that lead to his downfall. “Just one dream,” he sings, “one eternal longing...” A third possibility is provided by the nurse: her marriage was arranged, rather than being a love-match. We are not told how it turned out, but judging by the music, she seems happy with the result. For behind the whole opera lies the conflict between illusions and realities, between the Romantic and the pragmatic, summed up in Tatiana’s “Could all my dreams be self-delusion? File Name: LOG11024_RM_BF_AD_EdmontonOpera Am I too innocent to Trim: tell?”7.25” Tchaikovsky x 4.625” does not attempt an Canadian Marketing Bleed: 0" through Safety: 0.5” Res:and 300dpi 100answer. Yonge Street, 16 Floor Instead, he suggests, theMech warmth lyricism Colours: CMYK th

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of the music, sympathy with each one of the characters, and with their dilemmas — even with Onegin towards the close. In many ways that ending is deeply ambiguous: it is not a tragedy, except in the sense of what might have been. We feel deep sympathy for Tatiana; yet at the same time her rejection of Onegin is not portrayed as a weakness, a failure, but as strength of character. Her dreams will become commuted to memories of passion. And what if Onegin had said yes, out on the steppes? Tchaikovsky soon found out the answer to that question in his own marriage, and for Antonina Milyukova there was genuine Publication: tragedy:Material death inDeadline: an insane asylum. Dec 5, 2012Better, surely, marriage to a Insertion Dates: Prince Gremin than her eventual fate.

Singing in the new. Scotiabank is proud to be the Edmonton Opera Emerging Artists sponsor. The future of opera looks brighter because of these talented young Canadian artists. Enjoy the rich, absorbing season.

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EUGENE ONEGIN 13

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Artists’

PROFILES James Meena

Tom Diamond

Conductor

Director

James Meena consistently earns critical acclaim for his artistic vision and dynamic presence on the podium. The breadth of his conducting repertoire is captured in symphony, ballet and operatic works of Mozart, Beethoven, Puccini, Berlioz and Verdi, as well as contemporary composers Fazil Say, Carlisle Floyd and Canadian composer Victor Davies. Permanent posts have included resident conductor of the Toledo Symphony and Cleveland Ballet as well as principal conductor for Opera Carolina and Toledo Opera. James has appeared as a guest conductor for the Washington Opera, the Pittsburgh Symphony, L’Opéra de Montréal, the KBS Symphony Orchestra in Seoul, South Korea, the National Symphony Orchestra of the Republic of China, the Pittsburgh Opera, the Cairo Philharmonic in Egypt, the orchestra of the Teatro Bellini in Catania, Sicily, and the Orchestra Regionale Toscana in Florence, Italy.

Director Tom Diamond’s acclaimed productions include premieres of Chan Ka Nin’s Iron Road (Dora Award) and Timothy Sullivan’s Florence: the Lady with the Lamp (Chalmers Award), six productions for Pacific Opera Victoria and nine productions for the Canadian Opera Company. His production of Squonk was an off-Broadway hit which transferred to Broadway, where it won the American Theatre Wing’s Hewes Award. He has been the resident director/dramaturg at Tapestry New Opera for over a decade, where he has developed and staged many world premieres including Omar Daniel’s The Shadow and Andrew Staniland’s Dark Star Requiem. Mr. Diamond started 2013 directing a much-lauded new production of Handel’s Xerxes at the prestigious Jacob’s School of Music/Indiana University. It can be seen in its entirety on their website. Following Onegin he travels to Italy to stage his first Gianni Schicchi, followed by a Canadian tour of John Murrell’s dance drama Taj, starring Bollywood stars Kabir Bedi and Lisa Ray. The year concludes with his fifth production of Handel’s Guilio Cesare, this time in Montreal. Tom is perhaps most often recognized for his participation in the Gemini Awardwinning television series Bathroom Divas.

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Artists’

PROFILES (in order of vocal appearance)

Dina Kuznetsova Tatiana

Russian-American soprano Dina Kuznetsova has attracted universal attention for her outstanding musicianship and compelling stage presence, performing in many of the world’s greatest opera houses. Last season an acclaimed Metropolitan Opera debut as Chloé in Pique Dame was followed by a celebrated return to the Glyndebourne Festival as Dvořák’s Rusalka (conducted by Sir Andrew Davis). Additional productions included Rusalka with Opéra de Montpellier under the baton of Lawrence Foster and Eugene Onegin for Opera Carolina. This season sees the soprano’s role debut as Lisa in concert performances of Pique Dame with the Sydney Symphony under Vladimir Ashkenazy, Desdemona (Otello) with the Gulbenkian Orchestra under Lawrence Foster, Rusalka in Teatro San Carlo (Naples), and a return to the Metropolitan Opera in Zandonai’s Francesca da Rimini under Marco Armiliato. As Tatiana (Eugene Onegin), Dina appears with the Russian National Orchestra under Mikhail Pletnev and with Edmonton Opera under James Meena.

Maria Kataeva Olga

Maria Kataeva finished her secondary-school musical studies with a focus on piano in 2002 and continued her musical education in the College of Arts in 2006 as a choir conductor. Maria received first prize at the Novosibirsk Conservatory voice competition in 2006 and Third International competition of children’s and youthful work in Odessa, Ukraine. She recently graduated from the Rimsky-Korsakov Conservatory in St. Petersburg, Russia. During her musical studies at the conservatory she also took part in joint projects with Rahvusooper Estonia and Pskov Philharmonic (Bizet’s Carmen), where she performed the title role. Currently Maria is a young artist at the Deutsche Oper am Rhein, where she performed Cherubino (Le nozze di Figaro), Rosina (Il barbiere di Siviglia), El Gato (El Gato con botas) and Beatrice (Le testament de la tante Caroline). She will join the Ensemble of Deutsche Oper am Rhein in the 2013/14 season.

Olga Savova Larina

Grammy nominee for “Semyo Kotko,” mezzosoprano Olga Savova has emerged as a star of the Mariinsky Theatre. Shortly after she graduated with honours from the RimskyKorsakov Conservatory in St. Petersburg, Russia, she won a top prize in the Voci Verdiani International Voice Competition. Olga sang Brünnhilde opposite Plácido Domingo in a concert version of Die Walküre at Teatr Wielki in Warsaw, Poland. In Europe, Olga is regularly invited to sing lead roles from the Russian repertoire including Boris Godunov, Khovanshchina, Eugene Onegin, The Enchantress, The Snow Maiden, Queen of Spades, War and Peace and The Gambler. At the Metropolitan Opera, she has performed Lyubov in Mazeppa, Laura in La Gioconda, Hostess in Boris Godunov and Brünnhilde in Die Walküre. In 2009, Olga sang Azucena in Il Trovatore at Minnesota Opera. Recent engagements include Blanche in The Gambler at Gran Teatre del Liceu and Les Noces at the New York Philharmonic and Théâtre des Champs-Élysées.

Emilia Boteva Filippyevna

Canadian-Bulgarian mezzo-soprano Emilia Boteva has appeared on important opera and concert stages in Canada and throughout Europe. Her engagements this season include Un ballo in maschera (Ulrica) for Opera Tampa, Der fliegende Holländer (Mary) for Opéra de Montréal, Verdi’s Requiem for Brott Summer Music and Alexander Nevsky for Chicago’s Grant Park Festival and the Calgary Philharmonic. Highlights of the coming season include returns to Calgary Opera, Brott Summer Music and the Winnipeg Symphony. Further credits include Mamma Lucia in Cavalleria Rusticana for Opera Lyra in Ottawa, Filippyevna in Eugene Onegin for Opéra de Québec and Azucena in Il trovatore for Opera Hamilton. European engagements have included Ulrica in Un ballo in maschera in Bari, Italy, La sonnambula in Bilbao, and Wagner’s Ring Cycle (Wellgunde and Rossweisse) for Las Palmas de Gran Canaria with Maurizio Barbacini. She also appeared in Las Palmas in Rigoletto and returned to Sofia in Bulgaria for a Verdi Requiem honoring Ghena Dimitrova. Her recordings include Mozart’s Requiem with the National Bulgarian Radio Orchestra and Rachmaninov’s Vespers with the French National Radio Orchestra.

EUGENE ONEGIN 17

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Artists’

PROFILES Andrej Dunaev

Aleksey Bogdanov

Lenski

Andrej Dunaev’s recent appearances at the Semperoper, Dresden, include Il Duca (Rigoletto), Alfredo (La Traviata), Rodolfo (La Bohème) and Tamino (Die Zauberflöte). He appeared as Lenski, his signature role, in the Bolshoi Theatre’s first new production of Eugene Onegin in 38 years, a production that was broadcast and cinecast internationally, and which continues to tour worldwide. He became the principal tenor member of the Deutsche Oper am Rhein ensemble in 2005, where he remained for several seasons, appearing in leading roles for productions of Così fan tutte, Macbeth, Nabucco, L’elisir d’amore, Otello and Lucia di Lammermoor. Further engagements have taken him to Oper Frankfurt, Oper Graz, Opéra National de Paris, La Scala and the Staatsoper Unter den Linden, Berlin. He recently made a successful debut as Des Grieux (Manon) at Theatre Basel.

Eugene Onegin

Russian-American baritone Aleksey Bogdanov has been praised as “a baritone to watch” by the Washington Post, with a “distinctive color and affability.” This season he is seen with Atlanta Opera as Escamillo in Carmen, and will return to Washington National Opera in the title role and as Masetto in Mozart’s Don Giovanni. Future engagements include Belcore in L’Elisr d’Amore (Washington National Opera) and Sharpless (Glimmerglass Festival). Previous engagements include Escamillo (Opera Theatre of Saint Louis), Bernard DeVoto in A Blizzard on Marblehead (Glimmerglass Festival), Figaro in Le Nozze di Figaro, Guglielmo in Così fan tutte and Sharpless (Washington National Opera). Aleksey has performed with Washington Concert Opera, Baltimore Symphony Orchestra, San Francisco Opera Merola Program, Opera North, Lafayette Symphony Orchestra, and Opera Theatre of Saint Louis. Aleksey has also performed in recital at La Scala in Milan, and has also been featured on A Prairie Home Companion.

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Artists’

PROFILES James McLennan Triquet

James McLennan has performed with many of Canada’s major opera companies in repertoire ranging from Baroque to Buffo. Highlights include Remendado in Carmen with Calgary Opera, the Fourth Jew in Salome and Triquet in Eugene Onegin for Vancouver Opera, the title role in Candide for Toronto Operetta Theatre, Antoine Tassy in Kamouraska with Opera in Concert, Borsa in Rigoletto for Manitoba Opera and Beppe in Pagliacci with Hamilton Opera. He has sung the St. John Passion with the Amadeus Choir (Evangelist) and the Grand Philharmonic (arias), Handel’s Israel in Egypt with the Mendelssohn Choir, Bach’s Mass in B Minor with the Vancouver Bach Choir, and Haydn’s Creation with the Winnipeg Symphony, where he was also the tenor soloist for the North American premiere of the Tavener Requiem. An alumnus of the Second City Training Centre, North America’s premier improv and comedy school, he holds a degree in French translation from York University’s Glendon College.

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Stephen Hegedus Captain

A prize-winner in the Oratorio Society of New York competition, Stephen Hegedus has been featured with the symphonies in Houston, Montreal, Toronto, Seattle, Edmonton, Victoria and San Antonio. Operatic credits include the title role in Mozart’s Le nozze di Figaro (Teatro Municipal de Santiago, Chile, and Opera Hamilton), Albert in Werther (Opéra de Montréal), Talbot in Maria Stuarda and Guglielmo in Così fan tutte (Pacific Opera Victoria), Colline in La Bohème (Vancouver Opera) and Masetto in Don Giovanni (Orchestre Métropolitain du grand Montréal). He has appeared with Les Violons du Roy, the Grant Park Festival, the Aldeburgh Festival, the Lanaudière Festival, the Brott Festival and the International Bach Festival in Toronto. He looks forward to appearances with the Elmer Iseler Singers, Chorus Niagara, the Winnipeg Symphony, I Musici de Montréal, the Victoria and Edmonton symphonies, Vancouver Opera, Pacific Opera Victoria and Orchestre Symphonique de Québec. Stephen made his Carnegie Hall debut in 2009 singing Bach’s B-minor Mass with the Oratorio Society of New York.

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Artists’

PROFILES Jon-Paul Décosse Zaretski

Jon-Paul Décosse, “a powerful, full-throated bass-baritone” (Opera Canada), has been heralded for both his vocal and dramatic presentations in a variety of operatic and concert repertoire. During his final season as an Ensemble member for the Canadian Opera Company, he performed the roles of Sciarrone in Tosca, Don Juan in Janáček’s From the House of the Dead, and Pasquariello in Don Giovanni. Recent seasons have included Schaunard in La Bohème (Canadian Opera Company and Calgary Opera), Buonafede in Il Mondo Della Luna (Opera in Concert), Papageno in Die Zauberflöte, Don Alfonso in the COC’s Ensemble production of Così fan tutte, Beethoven’s Symphony No. 9 for the Thunder Bay Symphony Orchestra, Sam in Trouble in Tahiti in the Richard Bradshaw Amphitheatre and Colline in La Bohème (Opera Hamilton and Edmonton Opera). Busy across Canada, Jon-Paul has appeared as Marullo in Rigoletto (Pacific Opera Victoria and Orchestra London Canada), Thierry and the First Officer in Dialogues des Carmélites (Vancouver Opera), and Charles in Allan Bell’s Turtle Wakes (Calgary Opera).

Ilya Bannik Prince Gremin

Ilya Bannik was a finalist in the Operalia competition and in the Maria Callas International Voice Competition. Highlights in his repertoire include Samuel (Un ballo in Maschera), Ferrando (Il Trovatore), Banquo (Macbetto), Oroveso (Norma), Don Basilio (Il barbiere di Siviglia), Mephistopheles (La Damnation de Faust), Prince Gremin (Eugene Onegin), Leporello (Don Giovanni) and Colline (La Bohème). He successfully made his debut for the Paris Opera (Salome and Idomeneo), and with Valencia Opera House and Teatro di Firenze in Das Rheingold. Recent engagements include War and Peace (Canadian Opera Company), Idomeneo (Paris), Faust (Den Norske Opera) and as Gremin in Eugene Onegin (Antwerp). In 2011, Ilya made his role and house debut as Sarastro (Die Zauberflöte, Seattle Opera). In 2012, he made his house debut at Vancouver Opera as Il Re in Aida. In future seasons he will sing Polkan (Golden Cockerel) and Il Commendatore (Don Giovanni) with Den Nye Opera.

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Artists’

PROFILES 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 and last year’s The Mikado. 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 holds the position of chair of the awardwinning theatre production program. Thinking of a career backstage? Visit www.macewan.ca/theatreproduction.

Michael Spassov Chorusmaster

Conductor and pianist Michael Spassov comes to Edmonton Opera from Atlanta Opera, where he was principal coach and assistant conductor. As a repetiteur, he has assisted conductors including Philippe Auguin, Plácido Domingo, Arthur Fagen, Julia Jones, Richard Bradshaw, Victor DeRenzi and Will Crutchfield. He has worked at the Canadian Opera Company, Washington National Opera, Sarasota Opera, Bel Canto at Caramoor, and has conducted at Des Moines Metro Opera and Pineda Lyric Opera in New Jersey. An enthusiastic collaborative pianist, he has been seen in recital at La Scala, the Kennedy Center and the Richard Bradshaw Amphitheatre in Toronto. Michael was hand-picked by Plácido Domingo to be a member of the Domingo-Cafritz Young Artist Program at Washington National Opera, and also trained at San Francisco Opera’s Merola Opera Program. With bachelor’s and master’s degrees in composition from The Julliard School, his compositions have been performed by the Julliard Orchestra, eighth blackbird and Toronto’s Continuum Ensemble.

Joseph Fridman

Repetiteur & Russian Language Coach Joseph Fridman has earned two master’s degrees — as a pianist and an opera director — from the world-renowned St. Petersburg State Conservatory in Russia. There, Joseph worked as an opera director, piano teacher and repetiteur, and performed with the St. Petersburg and Pskov Philharmonics. As a director and repetiteur, he has been involved in productions including Little Bell (Donizetti), La Périchole (Offenbach), La cambiale di matrimonio (Rossini), The Tsar’s Bride (Rimsky-Korsakov), The Rake’s Progress (Stravinsky), Ruslan and Ludmila (Glinka), The Magic Flute (Mozart), Eugene Onegin (Tchaikovsky), Boris Godunov (Mussorgsky), I vespri siciliani (Verdi), Vanessa (Barber) and others. Joseph served on the faculty of the Alberta College Conservatory, taught the Opera Workshop at the University of Alberta and worked at Opera Nuova in Edmonton. Currently, Joseph is a codirector, piano teacher and vocal coach at the Alberta Music Academy. He performs in solo, collaborative and chamber recitals and has been broadcast frequently on CBC Radio.

Brian Webb Choreographer

Brian Webb has developed a national reputation as a contemporary dancer, choreographer and artistic leader. He has brought an international array of contemporary dance companies to Edmonton through the Brian Webb Dance Company, which he founded 34 years ago. In 1979, he formed the BWDC as a “company in residence” at Grant MacEwan College, where he was the chair of the dance program for 10 years. The company began presenting a dance season in 1991 and has now the largest season of contemporary dance west of Toronto. Since the beginning, the BWDC has been dedicated to experimentation and a collaborative creative process. His company has commissioned over 30 musical scores, numerous installations by visual artists and scripts by writers. Brian collaborates with local artists and works to give their work a broad context by tours across Canada and abroad. Amongst many other honours, Brian won Edmonton’s prestigious Artistic Lifetime Achievement Award in 2012.

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Artists’

PROFILES Dave Ganert

Movement Consultant/ Artistic Director, Shumka Dancers/ Guillot

Dave Ganert, artistic director and resident choreographer of the Ukrainian Shumka Dancers, creates artistic work distinguished by his creative inventiveness and a passion to explore the inter-relationship of Ukrainian dance, ballet and world dance forms. Combining his insights into the human spirit from his studies in a bachelor of arts in psychology, his drive to be innovative and his commitment to working with original music for his dance creations, Dave continues to bring a fresh Canadian perspective to distinguish Shumka as an important Canadian dance company. Shumka, which means whirlwind, presents full-length dance theatre touring productions as well as intimate concert repertoire across Canada and the world. A prolific choreographer, Dave has choreographed more than 20 new works for Shumka in the last four years. His most recent choreographic work is Eve of Kupalo – A Midsummer’s Night Masque, set for 40 dancers and danced to an original symphonic score by Kyiv composer Andrij Shoost and original costume designs by Maria Levitska of Ukraine’s National Ballet and Opera. Dave is a recent recipient of the Diamond Jubilee Medal for significant achievements and contributions to the community.

Ha Neul Kim Stage Manager

The 2012/13 season is Ha Neul Kim’s 11th 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 was also the assistant stage manager for many past Edmonton Opera and Manitoba Opera productions. Ha Neul also stage managed many special events including Main Stage for the Queen’s royal visit and Field Stage for the opening and closing ceremonies of the 2005 World Masters Games, as well as working in theatres across Canada. Previously, she taught opera stage management at the U of A to produce future opera stage managers.

EUGENE ONEGIN 27

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Artists’

PROFILES Gina Moe

Assistant Stage Manager

Gina Moe has been the assistant stage manager for Edmonton Opera productions of The Tales of Hoffmann, Aida, Tosca, Abduction from the Seraglio, La Bohème, Otello, Pirates of Penzance and Rigoletto. Her stage manager credits include Concrete Theatre’s 2012 Sprouts Festival, Boeing Boeing (Mayfield Dinner Theatre), Heroine, Jailbait and Victoria Martin: Math Team Queen (Northern Light Theatre), Angels on Horseback, A Grand Time in the Rapids, Mrs. Lindeman Proposes and Witness to a Conga (Teatro la Quindicina), Seasons and StageLab Festival (University of Alberta), Enchanted April, The Retreat from Moscow and Trying (Theatre Calgary), Three Mo Tenors, Three Mo Divas, Cookin’ at the Cookery, Trying, Einstein’s Gift, Wit and Skylight (Citadel Theatre), and BitchSlap! (Guys in Disguise). Gina has also spent seven seasons as a stage manager for the River City Shakespeare Festival (Freewill Players), was the assistant producer at the Edmonton International Street Performers Festival from 2008 to 2010 and was the touring stage manager for the AWHC’s production of Work Plays. Gina is a two-time winner of the Elizabeth Sterling Haynes award for the Outstanding Achievement in Production.

Get the

ANNA DAVIDSON

Assistant Stage Manager Anna is excited to be working at the opera again! Previous Edmonton Opera credits include The Mikado, The Barber of Barrhead and Carmen. In November 2012, she was the assistant stage manager for the Edmonton Opera’s co-production of Shelter with Tapestry New Opera. She has also worked as a stage manager for The Citadel Theatre, Northern Light Theatre, Shadow Theatre, Workshop West, Theatre Network, Concrete Theatre and L’Uni Théâtre. Anna is a graduate of the theatre production program at MacEwan and the theatre performance program at Red Deer College.

Advantage

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Production Sponsor

Francis Price & Marguerite Trussler

More likely than not, an email to the Edmonton Opera staff from Francis Price

will arrive liberally sprinkled with highlights, bolded letters and italic fonts, in order to convey his passion of the topic at hand — opera. Or staff will find cards on their desks, with a handwritten note thanking them for what they do.

In turn, Edmonton Opera would like to thank Francis and his wife, Marguerite Trussler, for everything they have done for the opera company in the past 39 years, including sponsoring this production of Eugene Onegin. Their ties to Edmonton Opera go back to 1974, when, three weeks after arriving in the capital city — Edmonton-born Marguerite had met Francis in Australia — the couple was offered tickets to La Traviata by Marguerite’s senior law partner, Howard Irving, who was then on the board of directors. Marguerite and Francis also encourage others to experience the opera, by gifting tickets, extending personal invitations to friends and family, and promoting opera throughout the city. In an official capacity, Marguerite was on the board of directors in the 1970s, while Francis became a board member in 2002, serving as chair in 2007/08. He is currently the vice-chair of the board. By his own estimation, Francis pegs the number of people they have been involved with through the opera in the thousands — opera fans, principals, directors, conductors, chorus and guild members, board members and Edmonton Opera staff. The couple’s activities explain the numbers — in addition to being involved at the board level, Francis has also been a member of the chorus since 1988, an extracurricular activity he has shared with his children. Their middle daughter, Megan, was involved in productions in 1989/90, while their youngest daughter, Glynis, started with the children’s chorus in the 1990s and joined the adult chorus in 2003.

30 EUGENE ONEGIN

Francis and Marguerite also act as billets for artists performing in Edmonton Opera productions. The option provides a sense of normalcy for the artists, and Francis and Marguerite will often host dinner parties for the entire cast, especially when the production falls on a holiday such as Thanksgiving or Easter. Francis’ emails often have something to do with the Edmonton Opera’s Endowment Fund. Inspired by John and Barbara Poole in 2003, Francis has spearheaded the opera’s endowment campaign since its inception. He believes the fund will give the opera company added financial stability to allow for longterm, confident planning for opera seasons into the future. With help from numerous donors and matching funds from Canada Cultural Investment Fund, the fund has grown to over $3 million. Edmonton Opera is about to celebrate its 50th anniversary. The anniversary tagline for our first five decades is “Consider this just the overture,” because we can’t wait to build further on the strong arts and culture reputation we have gained since 1963, thanks to continuing support from Edmontonians like Francis and Marguerite.

In Memoriam

Howard Irving

Hon. Howard Irving, Q.C. (1924 – 2013)

Born and raised in Edmonton, Howard had four great passions and a host of interests beyond. First, his family — He and his wife, Muriel, had two children, James and Margaret, and have left a legacy of eight grandchildren. Secondly, flying — During the war years, Howard enlisted with the Royal Canadian Air Force and was trained as a Lancaster bomber flight engineer, awaiting assignment to the air crews in England. It could have been much more challenging, as the Lancaster bombing crews saw terrible wartime losses. However, the war ended before he was called for active bomber service. He loved flying and airplanes, and flew throughout Canada and the United States for work and pleasure. Thirdly, the Law — Howard studied Law at the University of Alberta; then articled at Smith Clement Parlee & Whittaker. He was admitted to the Bar in 1952 and immersed himself in the profession, where he mentored a generation of young lawyers. In 1985, he was appointed directly to the Alberta Court of Appeal. His fourth great passion was opera. He listened to it every night at home on LP records. He listened to the Texaco Metropolitan radio broadcast on Saturdays, taped it and listened again on Sundays. His children grew up not knowing, for a time, there was any other kind of music. Howard was always an enthusiastic supporter of Edmonton Opera. He was a director of the Opera Board in the days of Irving Guttman and Lorin Moore, and was chair of the board in 1975-76. Thereafter, he maintained his interest in the opera, always keeping up with the company’s plans and sharing his experience with the board and staff. With the family’s gratitude, donations in memory of Howard Irving may be made to the Edmonton Opera Endowment Fund, c/o Edmonton Opera.

32 EUGENE ONEGIN

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Opera al Fresco The fourth-annual Opera al Fresco is a celebration of the summer solstice, combining great wine and food with the power of the unamplified human voice. “We want to share opera and give everyone a chance to experience it at least once,” said Sandra Gajic, Edmonton Opera CEO, explaining that part of the company’s mandate is to make opera accessible by holding community-based events. “Whether that’s in a more traditional setting on stage at the Jubilee or outdoors in an unusual yet beautiful setting, it is a memorable event.” Guests wander along the pathways, starting at one common location before visiting three different gardens during the evening, where each spot features a handful of operatic performances. The Edmonton Opera chorus will be performing selections from Gilbert and Sullivan, while local soloists Cara Brown, Zoryana Orlova, Rob Clark and Bertrand Malo have chosen pieces from Die Fledermaus, The Magic Flute and Carmen. “Just as the summer nights feel whimsical, we have put together a lighter program with a mix of opera favourites and assorted duets that allow the singers to showcase their voices, as well as display elements of theatricality,” Gajic said.

38 EUGENE ONEGIN

Compared to the wood-paneled Jubilee, this “opera house” has the grass as a stage, a Japanese Garden as an auditorium, a pond as a backdrop and the Alberta sky as a roof. The partnership with the Devonian Botanic Gardens provides a great reason for operalovers to venture out to the gardens, maybe for the first time, while encouraging garden enthusiasts to try opera. This summer garden party has sold out every year, and we look forward to celebrating the beginning of another one of Edmonton’s beautiful summers. Tickets are available through the Edmonton Opera box office at 780.429.1000 or edmontonopera.com.

Rob hood fund

The Edmonton Opera is the grateful recipient of a generous gift from the Rob Hood Fund.

Mr. Hood’s direction was that these legacy funds be used to attract operatic singers of the highest calibre. The first gift from the Rob Hood Fund was an award to Metropolitan Opera stars Angela Brown and Carl Tanner, who were two of the lead singers in Aida. Our second gift will be committed to renowned soprano Anne Sophie Duprels, who will appear in the lead role of Madama Butterfly in April 2014. Butterfly was the first opera ever performed by Edmonton Opera in 1963 and part of its inaugural season, so this will be a most apt acknowledgement of the company’s legacy in its 50th anniversary season. Dr. Irving Guttman, artistic director emeritus of the Edmonton Opera, shares his memories of Mr. Hood.

“I first met Robert when he joined our chorus in 1965. Two things were clear between us, we both loved opera and while he was serious and dedicated about his singing, we agreed that it was important to pursue one’s passions but not necessarily aspire to singing on the Met stage. He contributed to Edmonton Opera as both a board and guild member. That said, I believe his work in our chorus was seminal to his fine appreciation of the power and presence of the human voice. With his personal experience as a bass, his respect grew for the voices of the operatic greats of the time. He liked to call it ‘fine singing!’ “Rob was very principled in his belief that there were certain ways to do things, which extended to being a rather private person, to dressing properly and to being immensely loyal to his friends and colleagues. “Aside from his avocation, Rob was well placed in his work with the Alberta government’s culture portfolio. He was always committed to high standards, personally and professionally, and I am certain those were valued qualities in his work, thus making him known and respected in the arts community in the province and beyond.”

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It takes a lifetime to build up an estate, and yet it seems little time, in comparison, is

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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 Sandra Gajic, Edmonton Operaâ&#x20AC;&#x2122;s CEO, at 780.424.4040. 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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PCL GOLF CLASSIC Opera and golf — two pastimes were combined as a fundraiser 18 years ago, and every year since, the PCL Golf Classic is a successful event for the Edmonton Opera. This year, the PCL Golf Classic will be held on June 13, at the Glendale Golf and Country Club. The tournament started nearly two decades ago, when longtime opera patron Mary LeMessurier — with the help of volunteers and board members — celebrated her birthday by planning an event that combined her love for both golf and opera.

“Today, this tournament still remains as a great fundraiser for Edmonton Opera,” said Sandra Gajic, Edmonton Opera CEO. “Individuals and businesses can get involved, spend a day on the golf course with friends, colleagues and associates, all while supporting the Edmonton Opera in the arts community.” In 2012, approximately 150 golfers enjoyed the day at one of the finest golf courses in the area, enjoying good food, prizes and company with their fellow golfers. Combined, the generosity of the golfers, donors, sponsors and volunteers allowed the Edmonton Opera to raise approximately $60,000. For more information about participating as a team, donor or sponsor in the 2013 PCL Golf Classic, please contact Mickey Melnyk, Stewardship Officer, at mickey.melnyk@edmontonopera.com or 780.392.8719.

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Personnel Manager Eric Filpula

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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. 950 Bell Tower 10104-103 Ave. Edmonton, Alberta T5J OH8 Ph: 780-423-5834 • Fax: 780-413-6185 • www.playhousepublications.ca

PLAYHOUSE PUBLICATIONS LTD. President & Publisher: Rob Suggitt Vice President: Stephen Kathnelson Art Director & Designer: Christine Kucher Advertising Sales: Barry Powis, Kerry Duperron Administration: Amber Grmek Edmonton Opera Magazine is a product of Playhouse Publications Ltd., an affiliate of Suggitt Group Ltd. President & CEO: Tom Suggitt President & CFO: Rob Suggitt Playhouse Publications Ltd. also publishes The Citadel Theatre playbill, The Arden Theatre playbill, the Fringe Theatre Arts at the Barns Magazine, Calgary Opera program, Hockey Edmonton Magazine and Hockey Calgary Magazine

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edmonton opera board of directors 2012-2013 season

Irv Kipnes, Chair Francis Price, Vice Chair Ken Keenleyside, Treasurer Kyle Murray, Past Chair Robert Bessette John Cameron Bill Campbell

Mary Clonfero Richard Cook Craig Corbett

Jeffrey Jansen Bertrand Malo Melanie Nakatsui

Robert Rock Katie Soles Stella Varvis

edmonton opera staff CEO Sandra Gajic

AdminIstrative Assistant Jessica McMillan

Finance Serene Yau, Senior Bookkeeper

Community Relations Jelena Bojic, Director of Community Relations Amanda MacRae, Manager of Education and Community Outreach Cameron MacRae, Creative Manager Mickey Melnyk, Stewardship Officer Catherine Szabo, Communications Coordinator Lauren Tenney, Marketing & Fund Development Coordinator

Box Office Tara-Lee LaRose, Box Office Manager Rebecca Anderson, Box Office Supervisor

Artistic Administration Michael Spassov, Artistic Administrator and Chorusmaster Ha Neul Kim, Company Manager and Stage Manager

Production and technical Tim Yakimec, Director of Production Clayton Rodney, Technical Director Jeffrey McAlpine, Assistant Technical Director Greg Brown, Head Scenic Carpenter & Shop Supervisor Deanna Finnman, Head of Wardrobe & Resident Wardrobe Designer Chantel Fortin, Head of Properties & Scenic Art

Kathy Cooper, Assistant Head Scenic Carpenter Andre-Michel Lavoie, Scenic Carpenter Shanna Orgovan, Head Scenic Artist Melanie Brasch, Assistant Head Scenic Artist Katie Hartfeil, Scenic Artist & Properties Construction D. Kirby Liknes, Scenic Artist Brenda Inglis, First Assistant Head Wardrobe Michelle Warren, Second Assistant Head Wardrobe Jaylene Wiebe, Wardrobe Larissa Oâ&#x20AC;&#x2122;Hare, Production Facility Assistant

Production and technical Stage Crew Gina Moe, Assistant Stage Manager Anna Davidson, Assistant Stage Manager JoAnna Black, Apprentice Assistant Stage Manager Erin Valentine, Apprentice Assistant Stage Manager Michelle Warren, Head Dresser Jaylene Wiebe, Dresser Nancy Horn, Wigs and Hair Judy Morley, Wigs and Hair Michael Devanney, Wigs and Hair Cathy Nicoll, Make-up Noreen Jani, Assistant Head Make-up Chantel Fortin, Head Properties Katie Hartfeil, Assistant Head Properties Geoff Bacchus, Head Stage Carpenter Kathy Cooper, Assistant Head Stage Carpenter Al Kliss, Head Fly Dave Oudshoorn, Assistant Head Fly Alison Hardy, Head Electrician Joseph Race, Assistant Head Electrician Greg Brown, Head Audio/Video Pat Mackenzie, Title Cuer

Stage crew courtesy of I.A.T.S.E. Local 210 EUGENE ONEGIN 53

DONATE TODAY. STOLLERYKIDS.CA With your support, the Stollery Childrenâ&#x20AC;&#x2122;s Hospital Foundation is able to provide life-saving equipment, research that paves the way for new treatments and cures, medical innovations and specialized training, so that every child has the chance to go home again.

The Director’s Circle recognizes those patrons whose significant financial support and ongoing commitment enable Edmonton Opera to continue to produce award-winning and compelling art in our community. Bravo and thank you! For more information about the Director’s Circle or to become a member, please call the donor services line at 780.392.7837.

Season SponsorS $250,000 Dianne & Irving Kipnes Rob Hood Fund Onegin Production Sponsors $150,000 Francis Price & Marguerite Trussler Visionaries $50,000+ Jim & Sharon Brown $25,000 Shelley & Guy Scott Family Foundation MaestroS $20,000 Dr. Thomas & Melanie Nakatsui $10,000+ Barbara Poole Oline Markine Russell M. & Marjorie Purdy Glen & Sandra Woolsey Gerhard & Inge Zmatlo

LEADERS $9,000+ Frederic & Alma Gojmerac $7,000+ Laurence Jewell $6,000+ Sandra Gajic Jeffrey Jansen Jack & Esther Ondrack Gabe & Connie Shelley Ed Wiebe & Marcia Johnson $5,000+ Derek & Joanne Beaton Larry & Ellen Eberlein Mark & Nancy Heule Steven & Day LePoole Olson Management Ltd. Alan Rose & Judy Schroder Arnold & Grace Rumbold PATRONS $4,000+ Richard S. Cook Arliss Miller Eira Spaner Chris & Vivian Varvis $3,000+ John & Susan Hokanson Fath Group – O’Hanlon Paving BenefactorS $1,750-$2,999

Tricia Abbott Hon. Darlene Acton James Archibald & Heidi Christoph Pauline Alakija & Paolo Raggi Sam & Sonia Azer Rhonda Baker Douglas K. Bingham & Sheila Janki-Bingham Cheryl Lee & Gary Bosgoed

Branko & Jasna Calic Carol & David Cass David & Patricia Cassie Dr. Mary Chisholm Bill & Carole Clark Marian Clarke Elaine Coachman Patrick & Joan Dea Christine & Peter Dirksen Heinz & Donna Feldberg Joseph & Pat Fernando Fillmore Construction Management Hans & Susanne Forbrich Peter & Astrid Griep Linda Hamilton Brian & Jeanne Hetherington Karen & Pamela Hofmann Icon Fox Developments Ltd. William Johnston & Mary Ritchie Brian Kucey & Elena Hernandez-Kucey Alan Kuysters Dr. Christine Kyriakides Joan Lopatka & Bill Rutledge Hilliard & Nancy Macbeth Bertrand Malo Laurel Mckay Stephen & Lynn Mandel Rod & Heleen McLeod Carman & Averie McNary Hugh McPhail & Yolanda Van Wachem Michael & Mariette Meier Ken & Gerda Miller Neil & Susan Miller John Oberg Eleanor Olszewski Aline Pratch Leonard Ratzlaff Kelly & Renee Redinger James E. & Vivian Redmond Robert & Hilary Rose Douglas & Kathleen Sabo Margaret Slate / Slate Personnel Katie Soles David Steer & Larissa Whiting Stella Varvis & Paul Grossman Don Wheaton Robert A. Wilson Paola Zanuttini EUGENE ONEGIN 55

FRIENDS of Edmonton Opera

Sincere thanks go to the following individuals who, through their gifts, have demonstrated their belief in making opera a vital part of our cultural community. To donate or for additional information, phone the donor services line at 780.392.7837 or email individual.giving@edmontonopera.com. SustainerS

Andy Hladyshevsky James & Hasmik Houlder HUB International West Architecture Arndt Hughes Petroleum Ltd. Richard Balan & Patricia Johnston Tracey Ripley Rob Jolley Robert Bessette Karen & Thilo Kaufmann Greg Christenson Bernadette Kollman Sheila Davidson Shawn & Jane Kubiski John & Ann Dea Robert & Doreen Fessenden Libuse Kuzel Igor & Galia Kwetny Brent Hosjo Peter & Jean Langford-Jones Douglas O. Goss Professional Corporation Rick LeLacheur Liquor Store GP Inc. Bill Grace Neil & Jean Lund Gabor Gyenes & Brenda MacDonald Erika Mullner Rachel Mandel Dwayne Hunka Denis & Ruth McGettigan Ron Johnson Kevin & Lyn McKee Joseph Kim Les Moss Juri & Helle Kraav Lewis Nakatsui Judy & Stuart Mackay Wesley M. Pedruski Devon J. Mark & Allen Vander Well George & Teresa Pemberton Alan Mather & Linda & Gene Pilarski Helgard Proft-Mather Fay Plomp Bob & Bev McNally Clarence & Elizabeth Preitz Axel Meisen & Robert Prybysh Barbara Girard Michael Roulston Risha Milo Dwayne & Salwa Samycia Kyle & Colleen Murray George Schluessel Kevin Neveu Joe Tkalcic North West Crane Devin Sears & Hayley Wan Larry Pals Michael & Nance Smith Precision Drilling Geri & Lloyd Strain Corporation Frank & Suzanne Vani Protostatix Engineering Paul & Norah Verhesen Consultants Inc Knut Vik & Frank Calder Maria Schneider Joan Welch Kelly Sheard Ralph James Wood John Speirs Angus Watt CONTRIBUTORS Ralph & Gay Young ($250-$499) Stella & Walter Baydala SUPPORTERS Jim & Barb Beck ($500-$999) Dr. Grace Bokenfohr John Adria William A. Bowlen Peter & Barbara Allen Helen Buck Michael Bacchus Janet Carle Katrina Beatty Central Alberta CA Club Joan Bensted Challenger Homes Bruce & Carol Bentley Gary Christenson Bob Bowhay Craig Corbett Katherine Braun Donald & Nancy Cranston Jennifer Brown Sharon & Milton Davies Henry & Debbie Bruinsma Brett Dravinskis John Burlet Ken & Judith Duffin Doug Cannam Steven Duong Bernie Corry Elisea Mori Professional Anne Marie Decore Corporation Glen & Kristie Demke Eng-Con Holdings Design Dialog Terry Fillmore Robert Edmunds David Finlay Ivan & Ksenia Fedyna Karin Fodor Robert Gilles Kevin & Rachel Foster A R Grynoch Shirley & Jim Funk Radhe & Krishna Gupta Randy Garvey Stewart & Julie Hamilton Louise Gibson

($1,000-$1,749)

56 EUGENE ONEGIN

Paul Gibson Brad Gilewich Sheila Gynane Ross Haffie Dave & Janet Hancock Lois Hawkins Lois Hingley Michael Hobart Douglas & Dorothy Hollands Ben Horcica Elizabeth Hurley Roger & Rose Hutlet Louis & Mary Hyndman Lesley Jacobson & Wynne Rigal Ruben Jeffery Pavel & Sylva Jelen Robert & Dr. Erika Juthner-Krtschan Kent Kanfield Sandra Kavanagh HaNeul Kim Richard Kirby Loretta Klarenbach Leslie Kozma David & Sandra Kraatz Cody Lakevold Craig Lazaruk Lloyd Lewis Franklin C. Loehde Douglas Lynass Lowell & Donna Lyseng Kelly MacFarlane & Christopher S. Mackay Beth Macintosh Dave Majeski Peter Mantyniuk Paul Manuel Peggy & John Marko Maxi Consulting Inc. Grant Mccurdy Dallas & Laura Miles Jim & Linda Mitchell Kevin T. Mott Terry Oâ&#x20AC;&#x2122;Flynn Mel Olmstead Aaron & Jean Oshry Dr. Hanne Ostergaard Alex & Kelley Pagnotta Edward & Geri Papp C H Parks Wes Patterson Raj Pisani Jason Portas David Rees Orla Ryan T. Marshall Sadd Harvey Saskiw Alison Seymour Anne Shillington Doug & Devika Short Sinclair Supply Ltd. Barbara Diane Sinn Kierstin Smyth Greg Steele Lillian Strangway C T S & Rosalind Sydie

Karen Trace Donna Valgardson Frank Van Veen Ryan Vestby G. Vermeulen Brian Wallace Jim Ward Dr. Lorraine Wilgosh Tim Yakimec Christine & Gene Zwozdesky

MEMBERS

($100-$249) Jodi Abbott Brent Agerbak Sonia Allore Laurie Anderson Bradley Armstrong Brian Baker Steve Baker Henry Banman Justin Barbour Erika Barootes Vicki Barrow Barbara Batoni Lola Baydala Lavina Belik Brian Bengert Tim Berrett Gino S. Bit Dennis Blumenthal Jelena Bojic Blair Bondar Dr. Vivien Bosley Bill Boyd Robert Bradford Kathleen Brady Ailsa & Tom Bray Diane Brirner Annabel Brophy Ryan Brown Dr. Aubrey Burrowes John Cameron America Aznar Carmona Alan M. & Caroline Carroll Orietta Caterina Tony Caterina Frank Cavaliere Donald Chisholm Kathryn Chisholm Chris J. Chodan Joyce Christenson George Christidis Chung Chu Stacey Claffey Bruce Clark Janet M. Clark Roger & Carol Cohen Joseph & Marta Collier Karin Conradi Heather & George Coon Marcie Coutts Dr. Diane Cox Gary & Sue Cutmore Gwen C. Davies Miles Davis Kathy Demuth

Julie Denep Dan & Lorna Dennis R.J. & Janet Dmytruk Betty Lou Docherty Peter Doig Wendy Doughty & Jim Klingle Maggie Dower Arthur & Heather-Belle Dowling Harvey & Elizabeth Duff Dwayne Dufva Frank & Muriel Dunnigan Jim Ebbels Tim Eckert Casey Edmunds Marion Elder Elizabeth Ruthanna Elson Kevin Erker Noella Fagnan Alfred & Coleen Falk Werner Fenske Martin & Peggi Ferguson-Pell Lois Field Ferdinand Filiplic Jason Fjeldheim Joan Forge Derrick Forsythe Dr. Robyn Fowler Allan Gatenby Justin & Kelty Germain Stacey Gibson Shirley Gifford Walter Goetz F.S. & Margaret Golberg George & Judy Goldsand Robert Gomez Jon Goor Orest & Linda Gowda Carol Graham Crystal Graham Charles & Ann Grant Richard Groom Deanna Gupta Wesley Gunderson Dr. Mary Ellen Haggerty Daniel Hamilton John Hampson Donald Harbridge Zenia J. Hawrysh Dr. T Hayashi Kenneth & Jean Heavenor Dr. R. & Barbara Henderson Jeremy & Elizabeth Herbert Dr. Judith Hibberd Barb Hiller Georgette Holyk Fred Horne Gwen Horvath Arlene Howell Marianne Howell Dr. Jiri Hrazdil Prof Corp Dr. Sheila L. Hughes Barr S. Humphreys W.H. Hurlburt Colleen Ilkiw

Stewart & Juliette Inglis Investors Group Matc Erik & Franziska Jacobsen Christian Albert Jager Keith Jansen Ben Jensen Ryan Jones Valerie Keates Richard Kennedy Hugh & Shirley Kent Adam Kilbrun Betty Kolodziej Valerie Kneteman Dr. Elizabeth Krause Lorraine & Stan Kucey Michelle Kuysters John Kuzyk Thierry Lacaze-Masmonteil Walter & Kay Lachman Nancy Lang Arthur S. Langner Ian Large Tara-Lee LaRose Mark LaRue Jack & Diane Latham Dr. Vincent P. Lee Ursula Leipziger Leo Levasseur Susan & Murray Lieberman Laurie Litwinson Rena Liviniuk Laurie Lodge Doug & Joan Longley Ronald Lucas Richard Lyne Kirby Mack Gordon Malic David Malka James Malkin Berniece Malone Greg & Patrece Maluzynsky John & Cathleen Matthews Antoinette Marchand Joan H. Marshall Graeme Marr Robert Mauro Bruce Mccollum Chelsey Mclaughlan Roderick McLean Linda Medland-Davis Spencer Melnyk Marcio Mendes Zoltan Meszoly Ronald & Carole Middleton Janet Millar Shauna Miller Paul Monson Renn Moodley Marion Morgan Chris Morrison Lindsay Munn-Price Marney Mustard Larry Newton Danny & Erin Nianchuk Chris Nicholas Brent Nimalovitch John Ogilvy

Michael O’Dell Mr. & Mrs. Thomas Arthur O’Leary Tim Paetkan Frank Palko Fred Parton Anixa Patel Mary Pemberton Bruce Picton Sam Prochazka & Andrea Neilson Barbara Prodor Natalie Prytuluk Brian Quinn & Havington Hail Paul Rachynski Eugene & Jeanne Ratsoy Raywalt Construction Trevor Reddekopp

Terrie Reekie Yvonne Rekken Lindsay Reynolds Jordan Rice Mary Richardson Janet Riopel Dr. Dean Rokosh Analee Roman Alex & Mary Lou Rose Carolynne E. Ross Dr. E J Rudnisky Ena Rudovics Kathleen Ryks Chris Samycia Kathleen L. Savey Jelena & Dusan Savic Tom & Bev Sawyer Brian Scheerschmidt Jillian L. Scherba

Don Schultz Dr. Werner Schulze Tony Scozzafava Philip Sembaliyk Sheelagh & Andrew Semper Vaughn & Jennifer Shears Charles Shelley Paul Shelley R. & W. Sherbaniuk Anurag Shourie Chris Sieben Jamey Singh Michael Skozakewich Lon Sokalski Ron Sorokin David Sparrow Michael Spassov Joseph Stang

Donations made in memory of Dr. Robert J. Buck:

Donations made in memory of Ernie LeMessurier:

Isabelle A. Donald

Sandra Gajic Louis & Mary Hyndman Dianne & Irving Kipnes Stephen & Lynn Mandel Hilary Rose

Mike Staines John & Sparkle Steeves Sheila Steinhauer-Mozejko Alex Stenner Anne Strack Lord Ronald Streeter Martin & Heike Stribrny Edwin Strimer Danny Sullivan Jean Sult Frederick Tams Dave Tarkowski Mark Taylor Louis Te Doug Thomas Michael & Heime Thwaites Glen & Ashley Tichkowsky William Tonn Colin Tooth

John & Mandy Trapp Darcy Trufyn Melvin Tussmann Darrell E. Ungstad Dennis Vance Maureen Vandenberg Harold Vanderschoe Terry & Michele Veeman Trudy Velichka Joe & Sabrina Viana Duane Vienweau A.C. Visman Jackson von der Ohe Tom Wakeling Todd Wandio Sherri Wawrow Donna & Marv Weisler Shawna Wenchulak Jolanta Wiens

Donations made in memory of KIMBERLEY HEARD: Monique & Curtis Bandura James & Kelly Barnie Reta Berte Gail Dennis-Moisey Nicole Duhamel Christine Jones

Randy Williams & Janice MacDonald Dan Wilson & Leah Margiotta Tim Winton Kim Wheaton Morley & Patricia Workun Doug & Mary Wright Frank & Melinda Wuest Jim Yih H.C Yip Edward Yoo Daniel Zalmanowitz Kurt Zolmer Richard Zolmer Mark Zutz

Donations made in memory of Norah McKillop

Maureen Yates-Millions & Keith Millions Motion Industries (Canada) Ltd. Derek & Glenda Pickering Salisbury Composite High School Laura Svajlenko Dennis & Sharon Turner

Brenda Dale

Only 2012/13 season donations and/or pledges processed until March 16, 2013 are listed. Every effort has been made to ensure the accuracy of our donor information. If we have made an error or omission, please call the donor services line at 780.392.7837. We apologize for any inconvenience. Although space limitations allow us to list only charitable contributions of $100 or more, we gratefully acknowledge all donations. Each gift, regardless of size, helps to make Edmonton Opera performances possible. Thank you!

FRIENDS OF THE OPERA

benefits

MEMBER

CONTRIBUTOR SUPPORTER SUSTAINER BENEFACTOR

$100+

Tax receipt Acknowledgment in Intermezzo magazine and on website Access for two to our new Friends of the Opera Lounge Complimentary poster from our current season

• • •

Invitation for two to each dress rehearsal and VIP reception Two tickets at 30% off for each mainstage production Exclusive VIP event (per season) Two invitations to the exclusive DC Lounge Courtesy Jubilee parking during performances Two complimentary tickets to Edmonton Opera’s Film Series Backstage tour of a mainstage production Two complimentary Opera Brunch tickets Invitations to each Sitzprobe rehearsal Invitation to cast dinner Two complimentary mainstage subscriptions Recognition as a production or principal artist sponsor Invitation for dinner with Edmonton Opera’s CEO Access to private recitals

DIRECTOR’S CIRCLE

$250+

• • •

$500+

• • • •

$1,000+

• • • • •

$1,750+

• • • • • • • • • •

PATRON

LEADER

$3,000+

$5,000+

• • • • • • • • • • •

• • • • • • • • • • • • •

MAESTRO

VISIONARY

$10,000+ $25,000+

• • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • •

EUGENE ONEGIN 57

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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 780.392.7837.

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 Operaâ&#x20AC;&#x2122;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 In Memory of Howard Irving Francis Price and Marguerite Trussler

Endowment Donors & Aria Legacy Members John Adria Tricia Abbott Darlene Acton Peter & Barbara Allen Rebecca Anderson Sam & Sonia Azer Alan and Alice Bell Robert Bessette Jelena Bojic Grace Bokenfohr Katherine Braun Erin Clyde Richard Cook Glenda Dennis Maggie Dower Ivan & Ksenia Fedyna

Laura Fitzgerald Karin Fodor Sandra Gajic Karen Good Fred & Alma Gojmerac Andy Hladyshevsky John & Susan Hokanson Dorothy & Douglas Hollands Gwen Horvath W.H. Hurlburt Jeffrey Jansen Laurence Jewell Ha Neul Kim Betty Kolodziej Juri and Helle Kraav

Tara-Lee LaRose Franklin C. Loehde Stephen & Lynn Mandel Amanda MacRae Cameron MacRae Devon J. Mark & Allen Vander Well Roderick & Oline Markine Brenda MacDonald Alan Mather & Helgard Proft-Mather Jeff McAlpine Jeff McCune Bob McNally Arliss Miller

Kyle & Colleen Murray Wesley Pedruski Clarence and Elizabeth Preitz Francis Price Protostatix Engineering Consultants Barbara Poole Russell & Marjorie Purdy Reynolds Mirth Richards & Farmer LLP Clayton Rodney Analee Roman Hilary & Robert Rose Arnold & Grace Rumbold

Kelly Sheard Katie Soles Michael Spassov Darren Staten Catherine Szabo Lauren Tenney Marguerite Trussler Chris & Vivian Varvis Stella Varvis Angus Watt Joan Welch Adrienne E. Wong Stacy Young Tim Yakimec 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.

EUGENE ONEGIN 61

Going to the theatre should be a great experience. Here are some tips on how to make your night memorable without making a scene of your own. the lines at intermission by pre-ordering your refreshments 1 Skip at any of our concessions. it true “High Def” by asking about infrared listening devices 2 Make and binoculars at Patron Services.

3 Take an extra long limo – Ride Public Transit.

It’s a great way to avoid traffic before and after the show.

Giving Props... The Jube is proud to have Edmonton Opera as one of its Resident Companies. With a proud 49 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.

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SUPPORTING THE ARTS

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SPONSORS the canadian series Sponsor

Dianne & Irv Kipnes Production Sponsors

Francis Price & Marguerite Trussler Aida

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Education Dress Rehearsal Sponsor

Emerging Artist SponsorS

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Supertitle Sponsors

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SPONSORS City Lumber Corporation and the Rosen Family In honour and recognition of Zita & John Rosen, Founders

64 EUGENE ONEGIN

MEDIA SPONSORS

Official Suppliers

Edmonton Opera is grateful for the support of these sponsors, suppliers and media partners. For more information about supporting the Edmonton Opera, please call 780.392.7837 or email development @edmontonopera.com. EUGENE ONEGIN 65

June 13, 2013 The 2013 PCL Golf Tournament will be held at the Glendale Golf and Country Club. June 21, 2013 Join us at the Devonian Botanic Garden for Opera al Fresco, with open-air performances and great food and wine.

Oct. 6, 2013 Featuring the artists of Salome, the Edmonton Operaâ&#x20AC;&#x2122;s first brunch of the 2013/14 season will be at the Petroleum Club. Oct. 19, 2013 The Edmonton Opera Chorus celebrates 50 years in a concert at McDougall United Church.

Oct. 25, 27, 29 & 31, 2013 The Edmonton Opera presents Salome â&#x20AC;&#x201D; shocking, seductive and scandalous.

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

66 EUGENE ONEGIN

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WHEN YOU CHOOSE LEXUS OF EDMONTON FOR NEW AND PRE-OWNED LUXURY CAR SALES, YOU GET THE VIP TREATMENT!

EDMONTON’S ORIGINAL LEXUS DEALER

Locally owned & operated Factory trained technicians with years of experience

Heavily involved in the Edmonton & area community

Winner of the Pursuit of Excellence Award (2006–2012)

Reputation of setting the standard of service in Edmonton

Come and see our new showroom and Lexus VIP loft!

VISIT LEXUS OF EDMONTON TODAY!

www.lexusofedmonton.ca

Conveniently located on 170 St

780-466-8300

LEXUS OF EDMONTON IS PROUD TO SPONSOR THE EDMONTON OPERA