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The Mikado • by Gilbert & Sullivan TABLE OF CONTENTS
5 7 9 11 13 15 16 19 41 43 45 46 49 52 54
Message from the CEO and Board Chair Feature Article Edmonton Opera Children’s Chorus The Cast Composer Biographies Synopsis Program Notes Artists’ Profiles Edmonton Opera Chorus and Orchestra Edmonton Opera Board and Staff Director’s Circle Friends of Edmonton Opera Endowment Fund Partners and Sponsors Upcoming Events
EDMONTON OPERA Administration Office: 9720 102 Ave., Edmonton, AB T5J 4B2 Box Office: 780-429-1000 • Administration: 780-424-4040 • Fax: 780-429-0600 Email: info@edmontonopera.com • www.edmontonopera.com
COMING NEXT:
Fidelio
Beethoven’s only opera is set in a country ravaged by war. Leonore risks everything to rescue her husband, Florestan, a prisoner of war under a totalitarian regime. This timeless 1805 ode to peace, joy and triumph in the face of brutal adversity, receives its very first Alberta production.
April 21, 24, 26, 2012 Tickets: 780-429-1000 • www.edmontonopera.com
The Edmonton Opera playbill 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
M&
Welcome to this entertaining and beautiful, and ever so
popular production of Gilbert and Sullivan - The Mikado. We’ll be meeting some new or perhaps old friends; Nanki–Poo, Yum-Yum and Pooh-Bah to name just a hyphenated few. There is a lot to like with these colourful characters. When The Mikado was first staged in 1885 the costumes were made of pure Japanese silk. Tonight you will see silk and much, much more. Our Head of Wardrobe, Deanna Finnman, has created a fusion of contemporary fashions of Japan with traditional elements; the costumes are brand new, spectacular and most importantly, “Made in Edmonton”. Kimonos have come a long way, and every character has his or her own street-fashion look direct from Japan! There are other firsts. You are going to be right in the middle of this Mikado directed by Robert Herriot. What was the orchestra pit has now become an expanded stage with even more presence. And speaking of presence, you will be up close and personal not only with our fabulous performers, but will have a chance to see our orchestra in full view. So sit back and enjoy a G&S comic opera. We hope you will leave the Jube humming its infectious tunes. A final note – producing good opera is a challenging, time intensive and expensive process. Opera is without doubt the most complex of all the performing arts, combining the magic of live performance, exquisite music, compelling and creative sets and, of course, the power and grace of unamplified human voices. We appreciate your support through your attendance here tonight. We need your ongoing support. Edmonton Opera has a new online donation system that is now operational. Go to www.edmontonopera.com and click ”Support the Opera”. We appreciate every gift that helps to keep opera alive and well in Edmonton. See you all again in April at the Alberta Premiere of Beethoven’s only opera, Fidelio.
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Entertain your
creative side
ARTS &LIFE
edmontonjournal.com
F
FEATURE ARTICLE
FASHIONS INSPIRED BY
the Harajuku District in Tokyo… With Costume Designer/ Wardrobe Head, DEANNA FINNMAN
I’ve always had an interest in Japanese fashion and street culture, so
when we began talking about a modern Mikado that is where I began to draw inspiration from. Japanese street fashion is incredibly diverse and complex featuring outlandish outfits that to us in North America may seem more like a costume. One of the greatest criticisms of traditional Mikado Productions is that everyone looks the same running around in kimonos, so it’s difficult to tell who’s who. When creating The Mikado, I tried to create an entire identity for each character in a modern sense; Katisha is a high powered business woman a la The Devil Wears Prada; the three maids are still all school girls but Yum Yum is like a super Barbie princess, Pitti-Sing is a tough girl and Peep-Bo is more bookish like Velma from Scooby Doo. When we began creating the costumes for The Mikado, I spent much of my time doing research, studying the libretto, and listening to the music, as well as reading commentary about the opera itself. I try to create a life around each character in my head – where they live, what kind of car they’d drive, where they would shop and so on – it helps me determine what they look like. Often I present several sets of quick sketches or images before creating the final renderings that become the guide for the final look. Some of the costumes in Mikado include detailed embellishment, fabric dyeing, and hand-painting in addition to the actual sewing of the garments. It can take many hours to source the right fabrics and accessories for each costume. A costume can take anywhere from a few hours to create to hundreds of hours. When Edmonton Opera’s production of The Mikado comes to an end, the costumes are cleaned and stored in the opera’s warehouse facility to be used in future productions. Sometimes when a full set of costumes is created for a production, like in the case of Mikado, they will be rented as a production package to other Opera companies throughout North America. Please enjoy Edmonton Opera’s production of, The Mikado! THE MIKADO 7
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Edmonton Opera
CHILDREN’S CHORUS
Edmonton Opera and Victoria School of the Arts have joined together in an exciting new venture: the formation of Edmonton Opera’s very own Children’s Chorus.
The Chorus will be for children ages 8 to 12, and its members will be students at Victoria School of the Arts. The school is nationally known as an Arts School. It is one of the few Kindergarten to Grade 12 schools in Canada offering the Primary, Middle Years and Diploma International Baccalaureate Programmes. The Chorus will be led by one of Victoria School’s teachers, Janice Tole, who has extensive experience working with children and opera. She is one of the co-founders of KidsOp, which creates new operas for children and adults to perform together. Most notably Janice conducted the 1999 Banff Festival’s main-stage production of the opera The Raven King, which received international acclaim. Her M.Ed. focused on the ways in which Canadian opera companies provide educational programming for children.
“This is a wonderful opportunity for the children
of Victoria School” says Tami Dowler-Coltman, Principal of Victoria School. “Once children are introduced to opera, they so quickly become involved in all of its aspects from the musical to the theatrical. We are
very excited to be in
partnership with Edmonton’s Opera Company.” The primary role for the Chorus will be to take part in Edmonton Opera productions requiring a children’s chorus. In addition, plans for concert appearances and staging opera excerpts will become part of the performing arts season at Victoria School. Both Edmonton Opera and Victoria School anticipate the opportunity for the Chorus to participate in productions of operas commissioned for children. Sandra Gajic, Edmonton Opera’s CEO, is equally excited about the company’s new venture. “Our new Children’s Chorus is what the future of opera is all about. It invites children to experience and to engage in the wonderful world of opera. It’s the foundation of our future audiences, and perhaps of our future adult performers. And it is another important link between the company and our own Edmonton community.”
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PRESENTS The Alberta premiere of Beethoven’s only opera.
FIDELIO Love triumphs against brutal adversity.
APRIL 21, 24, 26, 2012 at 7:30 • Northern Alberta Jubilee Auditorium
For tickets: 780.429.1000 • www.edmontonopera.com
Edmonton Opera presents
The Mikado February 4, 7 and 9, 2012 Music by Arthur Sullivan Libretto by W.S. Gilbert Premiere: March 14, 1885, Savoy Theatre, London Conductor/Chorus Master Peter Dala Director Robert Herriot The Cast
(in order of vocal appearance)
Nanki-Poo Pish-Tush Pooh-Bah Ko-Ko Yum-Yum Peep-Bo Pitti-Sing Mikado Katisha
Scott Scully Andrew MacDonald-Smith Thomas Goerz Curtis Olds Andriana Chuchman Dionne Sellinger Erin Lawson John Avey Sonya Gosse
with members of the Edmonton Opera Chorus and The Edmonton Symphony Orchestra Set Configuration by Costume Designer Lighting Designer Sound Designer Repetiteur Stage Manager Assistant Stage Managers Apprentice Stage Manager
Clayton Rodney Deanna Finnman Geoffrey George Robert Smale Leanne Regehr Ha Neul Kim Holly Clark and Anna Davidson Isabelle Hebert
There will be one 20 minute intermission between acts. The performance is approximately 2 hours 20 minutes in duration including intermission. Projected Titles by Edmonton Opera Scenery provided by Edmonton Opera 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.
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Composer
BIOGRAPHIES
W. S. GILBERT (1836–1911) W.S Gilbert was born on November 18, 1836, the son of a naval surgeon in upper middle class society. Gilbert attended Ealing School, King’s College, London, and was admitted to the bar in 1864. However, his real interest and source of income was theatre. He wrote the Bab Ballads in 1869, which comprised rhythmical nonsense verses; he also wrote verse fantasies for the stage such as Pygmalion and Galatea. Examples of his comedies include Sweethearts (1874) and Engaged (1877) in which he employs the satiric device of characters expressing noble sentiments while being motivated entirely by self-interest.
ARTHUR SULLIVAN (1842–1900) A.S. Sullivan was born May 13, 1842, the son of a clarinettist. Sullivan discovered his desire for a music career at an early age. Sullivan’s transition from Lambeth boy to Doctor of Music, Knight of Realm, and companion to princes and royalty is truly remarkable. His first composition was a religious song, “O Israel”. His prodigious knowledge of music resulted in admittance to the elite Chapel Royal boys’ choir. One of his earliest successes was his incidental music to Shakespeare’s The Tempest. Between 1855 and 1875, he added to his musical experience by conducting and writing music for librettos by F.C. Burnand, Cox and Box, and Contrabandista.
SIR WILLIAM SCHWENCK GILBERT & SIR ARTHUR SEYMOUR SULLIVAN The first of Gilbert & Sullivan’s collaborations was Thespis in 1871 – a failure. In 1875 the impresario Richard D’Oyly Carte persuaded them to work together again on a piece to precede an evening of Offenbach’s La Periochole. The result was the successful Trial by Jury, a superlative gem that flashes as sharply today as when it was first produced. It marked the re-awakening of English and comic opera, dormant for almost 150 years. The next opera written by the three men was The Sorcerer (1877) followed by the immensely successful H.M.S. Pinafore (1878) and The Pirates of Penzance (1880). There was not always amiability in the joining of their talents, but with the cleverness of Gilbert’s lyrics and Sullivan’s flair for setting the English language to music, they created a repertoire of stage works unequalled in their field. The operas which followed these successes were Patience (1881), lolanthe (1882), The Mikado, (1885), Ruddigore (1887), The Yeomen of the Guard (1888) and The Gondoliers (1889).
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SYNOPSIS A year before the action of this opera begins, Nanki-Poo, son of the Mikado of Japan, fled his father’s imperial court to escape marriage with Katisha, an elderly lady. Disguised as a traveling musician, he met and fell in love with Yum-Yum, the young ward of Ko-Ko, a cheap tailor in the town of Titipu. Yum-Yum, however, was already betrothed to her guardian, and Nanki-Poo left Titipu in despair.
Act I – In the Courtyard of Ko-Ko’s Official Residence in Titipu. The show opens in the town of Titipu where the chorus of nobles are joined by Nanki-Poo, disguised as a second trombone, who is looking for Yum-Yum, the ward of Ko-Ko. A noble lord named PishTush asks what Nanki-Poo’s business is with Yum-Yum, and learns that the minstrel had seen the girl a year ago when he was a member of the town band, and they had fallen in love. But Yum-Yum was betrothed to her guardian Ko-Ko, ‘a cheap tailor.’ However on learning that Ko-Ko was condemned to death for flirting, the minstrel has hurried back to try to claim Yum-Yum. Unfortunately on his return he finds that far from being dead, Ko-Ko has in fact been let out on bail, and appointed Lord High Executioner. There is worse to come as Pooh-Bah, who holds every major office of state, informs Nanki-Poo that Yum-Yum and Ko-Ko are to be married that very day. Yum-Yum and her sisters, Pitti-Sing and Peep-Bo, appear with their schoolfellows. When Yum-Yum finally catches sight of Nanki-Poo he reveals that he is the son of the Mikado, and when they are alone, she admits she does not love her guardian. The two lovers realise that their cause is hopeless, and Yum-Yum leaves Nanki-Poo who then tries to kill himself. Meanwhile, Ko-Ko has received a letter from the Mikado, who threatens to abolish the post of Lord High Executioner and reduce Titipu to the rank of a village unless a beheading takes place within a month. On seeing Nanki-Poo about to ‘terminate an unendurable existence,’ Ko-Ko points out that suicide is a capital offence, and offers to do the job professionally. Nanki-Poo agrees, on the condition that he can Marry Yum-Yum and enjoy one month of married life before he is beheaded. After the execution Ko-Ko will then be able to marry the widowed Yum-Yum. Amidst the celebrations in storms Katisha, having tracked down the object of her affections, Nanki-Poo, and threatens to reveal his true identity. She is outshouted by a chorus of Japanese syllables: “O ni! bikkuri shakkuri to!” (one of the many possible translations of which is “So surprised, we hiccup! Bah!”). But the town dwellers are not to be deterred and ‘joy reigns everywhere around.’
Act II Act two opens with Yum-Yum being prepared for her wedding. But soon the awful fact is out that under the Mikado’s law the widow of a beheaded man must be buried alive. This places Nanki-Poo in a dilemma, if he holds Yum-Yum to this marriage, she dies a hideous death, and if he releases her she must marry Ko-Ko at once. The marriage is off, and Nanki-Poo determines to do away with himself that afternoon unless Ko-Ko will kill him at once. But it turns out that Ko-Ko can’t kill anything. To make matters worse, the Mikado and his suite are approaching the town and will arrive in ten minutes. In desperation Ko-Ko arranges to draw up an affidavit of Nanki-Poo’s execution. The Mikado arrives with Katisha who makes much of being his daughter-in-law elect. When Ko-Ko presents his certificate of execution. The Mikado reads it and says, ‘My poor fellow, in your anxiety to carry out my wishes you have beheaded the heir to the throne of Japan!’ Ko-Ko and Pooh-Bah find Nanki-Poo and beg him to present himself, alive, to his father, thereby absolving them of his death. But Nanki-Poo, now married to Yum-Yum, is afraid of Katisha’s wrath. Unless Ko-Ko will agree to marry the old hag himself, he and Yum-Yum will leave on their honeymoon at once. Katisha, meanwhile, is mourning the death of Nanki-Poo, and when Ko-Ko tries to woo her, she is at first reluctant, but he wins the formidable lady with a pack of flattering lies and a sad, lovelorn song. Katisha adds her powerful pleas to the Mikado for everyone to be pardoned. The Mikado, a bit bewildered by it all nonetheless pronounces that ‘Nothing could possibly be more satisfactory!’ THE MIKADO 15
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PROGRAM NOTES The Mikado
W.S. Gilbert (1836-1911) and Sir Arthur Sullivan (1842-1900) The Mikado, widely considered Gilbert and Sullivan’s most successful work, very nearly didn’t happen. By the time the two started on it in 1884, they had already had a string of extraordinary successes with the D’Oyly Carte Company (housed in London’s Savoy Theatre), including H.M.S. Pinafore and The Pirates of Penzance. If their names were not quite as exclusively synonymous as they are now (Sullivan was also famed for his choral works and his songs, and Gilbert for his burlesques and comic fairy-tale plays), G&S were celebrated wherever the map of the world was painted British Empire red, which meant much of it, and wherever it had once been, which meant the United States. The crisis came in 1884. Sullivan had been very ill (The Times ran bulletins on his progress), probably with the kidney disease that was to contribute to his early death in 1900. Aware of his own mortality, he wanted to be remembered for more than just satirical comic operas. He saw (correctly) that in his collaborations with Gilbert, the music was the servant of the words, and he wanted “a chance for the music to act in its own proper sphere” – ideally grand opera. He told Richard D’Oyly Carte that he didn’t want to do any more Savoy operas. D’Oyly Carte had other ideas. The G&S operas were the mainstay of the Savoy’s income. Their most recent collaboration, Princess Ida, was coming to the end of its run, and Carte invoked the five-year contract that Sullivan had signed only a few months before, giving G&S notice that a new work was required from them within six months. In the meantime, Gilbert and Sullivan had engaged in lengthy and very waspish correspondence – Sullivan insisted he didn’t want the same old formula, and Gilbert was understandably upset at the implied criticisms of his art. Matters were made even worse by Gilbert offering the composer a new (and rather weak) libretto, only to have it rejected, not once, but twice, after a rewrite. Relations were so strained that the most obvious course of action was for Sullivan to find a new librettist. That he didn’t was down to two factors. The first was that Sullivan knew perfectly well that there wasn’t another writer who could stimulate his music quite like Gilbert. And secondly, Gilbert suddenly turned up with the idea of The Mikado. The story is said to have been inspired by Gilbert glancing at a Japanese sword hanging on his study wall, but a vogue for all things Japanese had swept Europe since the opening up of the country, following the Meiji restoration of the Emperor in 1868. Japanese arts and crafts flooded into London, especially through the fashionable London store of Liberty, and Gilbert and Sullivan had themselves briefly alluded to the vogue in Patience (1881). Certainly, Gilbert – who, as usual, was stage director of the opera as well as librettist – was at pains to include authentic Japanese elements in the production. As it happened, while he was writing the libretto, a large Japanese village was being constructed for an exhibition in Knightsbridge in London. Gilbert enlisted the aid of Japanese designers and dancers, and the widely anticipated opening of the exhibition, just before the premiere of The Mikado, was a publicist’s dream for D’Oyly Carte. But the opera was no burlesque of Japan; the setting was simply an excuse for Gilbert and Sullivan’s usual delight in sending up the manners and mores of the English. The Mikado’s most famous song, for example, includes references to operatic tenors, billiard-sharps, mystical Germans, and Madame Tussaud’s, and ‘let the punishment fit the crime’ is only one of the bon mots the opera has contributed to the English language.
16 THE MIKADO
by Mark Morris Sullivan, too, included a genuine Japanese tune (from an Imperial Japanese march), setting genuine Japanese words, but otherwise the formula was as brilliant, and as English, as before: highly infectious tunes, subtle digs at the styles of such composers as Rossini and Verdi, and even a suitable injection of a quote from Bach. But there is something new about The Mikado: gone are the very direct satirical characters – the First Lord of the Admiralty, for example, in H.M.S. Pinafore, or the whole corps of sons of nobility, not to mention the Major-General, in The Pirates of Penzance. In their place is a much broader satire, and it produces not only a story-line that is more integrated and flowing, but also a sense of a deeper flow in Sullivan’s music. Certainly the public thought so. When it opened on March 14th, 1885, at the Savoy, the critics who said that Gilbert and Sullivan were becoming stale were silenced for good, and the production ran for an unprecedented 672 performances. It is the only G&S opera that has successfully travelled to nonEnglish speaking countries; Kirsten Flagstad, when a child in Norway, and soon to be one of opera’s greatest sopranos, knew all the songs by heart! In modern productions, there are invariably some minor changes to Gilbert’s words, to avoid the use of expressions now considered offensive, and sometimes to introduce more topical satire. Such political correctness is not new. In 1948, a production in Tokyo with an American-Japanese cast was put on by the Occupying Forces to help ‘democratize’ the nation. The American censors were worried that the parody of an ancestor of the current Emperor would cause problems. But their fears were groundless, and indeed an earlier member of the Japanese Imperial Family had already signalled his acceptance of the burlesque. In 1907 Prince Fushimi Sadanaru was to make a state visit to Great Britain. The Mikado was playing at the Savoy, and the British government, concerned that it might give offense, ordered it shut down for the duration of the visit. One can only imagine the discomfort of Her Majesty’s Government when the Crown Prince complained that he had been hoping to see The Mikado, but was unable to do so; but one can well imagine Gilbert and Sullivan making an opera out of it!
The Jube is proud to have Edmonton Opera as one of its resident companies. On the main stage at the Jube, Edmonton Opera produces a season of three full-scale operas. With a proud 48 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. The Jube is also committed to helping you enjoy your evening. We offer Infrared listening devices and binoculars, which are available at Patron Services (rental rates vary). You can also pre-order refreshments on all levels.
THE MIKADO 17
PATTISON IS PROUD TO SUPPORT THE EDMONTON OPERA’S PERFORMANCE OF
THE MIKADO
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Artists’
PROFILES
PETER DALA, Conductor, Chorus Master Edmonton Opera’s Chorus Master, Peter worked with the Basel Ballet and Zurich Ballet in Switzerland, the Hungarian State Opera and the National Ballet of Hungary, with performances in Monte Carlo, Israel, New York, Spain and China. Highlights include Don Giovanni and the ballet A Midsummer Night’s Dream in the Singapore and the Hong Kong Festival of Arts. Peter has also conducted for Alberta Ballet since 2001, and has been their Music Director since 2005.
ROBERT HERRIOT, Director Canadian stage director Rob Herriot began his career on the stage before turning his attention to stage direction. In 2000 he began working as an assistant director for Vancouver Opera, Lyric Opera of Kansas City and San Diego Opera. Since then he has directed productions of Lucia di Lammermoor , La Bohème, Carmen (Manitoba Opera), La Traviata (Opera Hamilton), Carmen (Arizona Opera), Don Pasquale (Opera Hamilton, Connecticut Opera, and Utah Opera) Pirates of Penzance, La Fille Du Regiment, HMS Pinafore (Edmonton Opera-winner of a Sterling Award for Outstanding Musical of the Season), Tosca, nominated for the Sterling Award’s Best Musical Production 2011 and Barber of Seville (Calgary Opera) which was nominated for a Betty Mitchell award for Best Musical of 2008/2009 season. Rob is also the Director-in-Residence for Opera on the Avalon in St. John’s Newfoundland where he has directed productions Albert Herring and The Marriage of Figaro. Last season he returned to performing, playing the role of Pirelli in Sweeney Todd. Upcoming engagements include productions of La Bohème, Gianni Schicci and Suor Angelica.
DEANNA FINNMAN, Costume Designer Deanna’s 11 year association with the Edmonton Opera as head of the wardrobe department has included design credits for Lakme, Pearl Fishers, and Sterling Awards for best costume design for both South Pacific and Emperor of Atlantis. Recent costume design credits include Jack and the Beanstalk and the Sterling nominated Hansel and Gretel for Alberta Opera. Deanna also curated and created 2 wearable art coats for The Opera Coat Project, a visual art exhibit sponsored by the Alberta Craft Council and Edmonton Opera. Deanna is thrilled that Mikado has allowed her the opportunity to delve in the fascinating world for Japanese street culture and work once again with some of Edmonton’s most skilled and creative costumers and theatre craftspeople.
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A
Artists’
PROFILES
SCOTT SCULLY, Nanki-Poo An in-demand presence on American and international stages, Scott Scully joined the roster of the Metropolitan Opera in the 2009-2010 season singing the roles of Remendado in Carmen, Pong in Turandot, and the Young Prisoner in The House of the Dead, as well as participating in Ariadne auf Naxos. He also appeared with the Eugene Symphony in Mozart’s Coronation Mass, made his debut with the BBC Orchestra in London, where he reprised the role of Louis in Angels in America, and sang his first Pinkerton in Madame Butterfly with the Bar Harbor Music Festival. This year at the Metropolitan Opera, Mr. Scully will be seen in Carmen, the new production of La Traviata and Capriccio. He also covers the role of Tybalt in Roméo et Juliette, the Simpleton in Boris Godunov, Tchekalinsky in Pique Dame and Brighella in Ariadne auf Naxos. Future seasons will see Mr. Scully’s return to the Metropolitan Opera.
ANDREW MACDONALD-SMITH, Pish-Tush Recent credits include The Pirates of Penzance, H.M.S. Pinafore (Edmonton Opera); The Hoof and Mouth Advantage, The Scent of Compulsion, Witness to a Conga, At the Zenith of the Empire and The Salon of the Talking Turk (Teatro La Quindicina); The 25th Annual Putnam County Spelling Bee, Little Shop of Horrors, Footloose and The Wizard of Oz (Mayfield Dinner Theatre); The Liars (Shadow Theatre); Dirty Rotten Scoundrels (Theatre Calgary); The Mystery of Edwin Drood (Vertigo Theatre); The Pillowman (The Citadel Theatre); Drew also appeared in the original musicals The Infinite Shiver and Everybody Goes to Mitzi’s, which he co-wrote for Teatro la Quindicina. In 2006, Drew made his Broadway debut at the Golden Theatre in the Tony Award-winning musical Avenue Q.
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Artists’
PROFILES
THOMAS GOERZ, Pooh-Bah Dramatic integrity and vocal clarity are the enduring artistic hallmarks of performances by bass-baritone Thomas Goerz. His impressive variety of roles ranges from Leporello in Don Giovanni with Opera Ontario, to Owen Hart in the Canadian premiere of Dead Man Walking with Calgary Opera. He will be at the Vancouver Opera for the world premiere of Lillian Alling and also will be heard there as Publio in La Clemenza di Tito. He is featured as Angelotti in Tosca for Edmonton Opera, sings Messiah for Symphony Nova Scotia and Mozart’s Mass in C Minor with the Toronto Mendelssohn Choir. Mr. Goerz has been heard as Sulpice in La Fille du Régiment and Don Alfonso in Così Fan Tutte with Vancouver Opera, Nikitich in Boris Godunov with the Canadian Opera Company, Raimondo in Lucia di Lammermoor with Pacific Opera Victoria, and Tod in Der Kaiser von Atlantis with both the Canadian Opera Company and Edmonton Opera.
CURTIS OLDS, Ko-Ko Curt enjoys a busy career in both musical theatre and opera, performing and directing in the U.S. and abroad. He has been seen in productions ranging from Don Pasquale and The Magic Flute, to Stephen Sondheim’s A Little Night Music with Donna McKechnie and the Actor’s Fund production of Three Penny Opera with Bea Arthur. Curt appeared in the original German production of Andrew Lloyd Webber’s CATS and also on Broadway in Riverdance. Other favourite operatic roles include Falke in Die Fledermaus, Captain Corcoran in HMS Pinafore and Njegus in The Merry Widow, all with Central City Opera; Malatesta in Don Pasquale with Opera Omaha and Pirates of Penzance with Arizona Opera, Lake George Opera and Edmonton Opera.
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A
Artists’
PROFILES
ANDRIANA CHUCHMAN, Yum-Yum This season, Canadian soprano Andriana Chuchman makes her Canadian Opera Company debut as Olympia in Tales of Hoffmann and returns to the Toronto Symphony for performances of Mahler’s Symphony No. 8, the Michigan Opera Theater for staged performances of Orff’s Carmina Burana and Menotti’s The Medium as well as Susanna in Le Nozze di Figaro, and the Edmonton Opera as Yum-Yum. In her native Canada, Ms. Chuchman made her Edmonton Opera debut as Marie in La Fille du Regiment, and has also appeared as Adina, and Lauretta in Gianni Schicchi. Born in Winnipeg, Manitoba, Canada, Ms. Chuchman received her Bachelor's Degree in Voice Performance from the School of Music at the University of Manitoba. She was a prize winner at the Finals of the 2009 Neue Stimmen Competition in Germany, and received a Sullivan Foundation Encouragement Award in 2007.
DIONNE SELLINGER, Peep-Bo Dionne was a member of Calgary Opera’s Inaugural Emerging Young Artists Program and has since returned to perform Maman in Ravels’ L’Enfant et les Sortileges, Rosette in Manon and La Ciesca in this seasons production of Gianni Schicchi. She has performed Rosina in Barber of Seville with Burnaby Lyric Opera, and toured The Barber of Barkerville as Rosie with both V.O.I.S. and Edmonton Opera. With Vancouver Opera Sellinger has performed Kate Pinkerton in Madama Butterfly and Alisa in Lucia di Lammermoor. She joined Dragon Diva Operatic Theatre as Prince Charming in Cendrillon, Hansel in Hansel and Gretal and played the title role in Gilbert & Sullivan’s Iolanthe. Dionne is very excited to back in Edmonton as Peep-Bo.
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A
Artists’
PROFILES
ERIN LAWSON, Pitti-Sing Possessing “...a beautiful lyric mezzo-soprano” voice (Opera Canada), and praised for her “dramatic flair and expressive vocal range” (Kitchener-Waterloo Record), Erin is earning notice for performances on opera and concert stages across Canada. A recent alumnus of both the Calgary Opera Emerging Artist Program, and Pacific Opera Victoria’s Resident Artist Program, Erin has used her engaging stage presence to captivate audiences in repertoire ranging from Handel and Rossini to newly created works. She was top prize winner at the 2005 Canadian Music Competition, and has received grants from the Vancouver Women’s Musical Society, the BC Arts Council and the Canadian Council for the Arts. Upcoming highlights include Alto Soloist in Beethoven’s Ninth Symphony with Orchestra Toronto, a concert of arias with the Huronia Symphony, and a return to Calgary Opera in the 2011-12 season.
JOHN AVEY, The Mikado John Avey is a versatile baritone whose repertoire encompasses a wide variety of major operatic roles as well as the principal symphonic and oratorio works. Mr. Avey debuted at the Metropolitan Opera as Enrico in Donizetti’s Lucia di Lammermoor conducted by Sir Charles Mackerras. Highlights from seasons past include Ford in Verdi’s Falstaff with Edmonton Opera, Salieri in Rimsky-Korsakov’s Mozart and Salieri with the Calgary Philharmonic, Scarpia in Tosca and the title role in Rigoletto for Pacific Opera Victoria, and der Kaiser in Ullmann’s Der Kaiser von Atlantis in Edmonton.
THE MIKADO 27
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A
Artists’
PROFILES
SONYA GOSSE, Katisha Mezzo soprano Sonya Gosse returns to Edmonton Opera in the role of Katisha. Previous roles with the company include Ruth in The Pirates of Penzance and The Marquise of Berkenfield in The Daughter of the Regiment. Ms. Gosse’s many roles with the Canadian Opera Company include Madame Akhrossimova in War and Peace, the Second Maid in Elektra, Mrs. Herring in Albert Herring, Rita in The Handmaid’s Tale, Giovanna in Rigoletto, Grandmother Buryjovka in Jenufa, the Governess in The Queen of Spades, Maddalena in II viaggio a Reims, and the Hostess of the Inn in Boris Godunov. In the fall of 2011, Ms. Gosse made her debut as Music Director and Conductor of Crescent School’s production of Rent.
GEOFFREY GEORGE, Lighting Designer Geoff is delighted to be returning to the Edmonton Opera with The Mikado. Beginning his professional 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, Leave it to Jane Theatre, Olympic champion Kurt Browning and last, but not least, Grant MacEwan University, where he holds the position of Chair of the awardwinning Theatre Production program.
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A
Artists’
PROFILES
ROBERT SMALE, Sound Designer Bobby is an Edmonton-based theatre professional, and is happy to be back with Edmonton Opera. His background includes Live Sound Reinforcement for musical theatre as well as Technical Directing, Designing Sound and Lighting for Theatre, Live Events, and Festivals. Recent sound designs include Edmonton Opera’s The Abduction From The Seraglio (2011) and Pirates of Penzance (2010), sound and media design for Keyano Theatre’s The Blue Light (2010) in Fort McMurray, Alberta and lighting design for Teatro La Qunindicina The Infinite Shiver (2010) and The Ambassadors Wives (2010), as well as, Mile Zero Dance’s Production of Secret Diaries (2009).
LEANNE REGEHR, Repetiteur Leanne Regehr is a versatile pianist who has worked in opera, choral, recital and symphonic settings across North America. She holds a Master of Music degree from the University of Alberta and a Doctorate in Piano Performance from Northwestern University in Chicago. Leanne was a staff pianist for Sherrill Milnes’ VoicExperience Program in Orlando, a Coaching Fellow at the Aspen Music Festival for Corigliano’s The Ghosts of Versailles, and has worked as a repetiteur for Shreveport Opera, Mercury Opera, and Edmonton Opera. In addition to her position as the Vocal Coach for the University of Alberta’s Opera Workshop program, Leanne teaches piano at King’s University College in Edmonton; she is the accompanist for the Richard Eaton Singers, and is often engaged as an adjudicator and collaborative artist.
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Wednesday, February 8 7:30 pm • $32
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Saturday, April 14 & Sunday, April 15 8 pm • $35 Pre-show wine tasting at 7 pm
A
Artists’
PROFILES
HA NEUL KIM, Stage Manager Ha Neul Kim is pleased to return to Edmonton Opera’s 2011-2012 season. A graduate from the University of Alberta, with her BFA degree in Technical Theatre Production specializing in Stage Management, Ha Neul has been stage managing for 10 years and 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 has also stage managed the University of Alberta’s Centennial festival opera Orfeo, acted as Main Stage Manager for the Queen’s Royal Visit, and as Field Stage Manager for the Opening and Closing Ceremonies of the 2005 World Masters Games.
HOLLY CLARK, Assistant Stage Manager Holly is a 26 year old Libra, who enjoys long walks in the ravine with her puppy, Sprocket and her partner, Lauren. She is a graduate of the University of Alberta’s BFA in Stage Management program and her 2011 credits include Abduction from the Seraglio with the Edmonton Opera and The Three Musketeers and Little Women for the Citadel Theatre. In her spare time Holly enjoys playing goal for her ball hockey team and reading comic books. She would like to thank her Mom and her Wife for being perfect. Enjoy the Show!
ANNA DAVIDSON, Assistant Stage Manager Anna is very keen to be working on this show! Last year for the Edmonton Opera she stage managed The Barber of Barrhead. Her first opera experience was working on the stage management team for Carmen in 2007. She is a stage manager in Edmonton and has worked for The Citadel Theatre, Northern Light Theatre, Shadow Theatre, Workshop West, Theatre Network, Concrete Theatre, L’Unitheatre, and at Nextfest. Anna is a graduate of the Theatre Production Program at Grant MacEwan University and the Theatre Performance Program at Red Deer College. She is also a freelance lighting technician.
opera
Come to Edmonton Opera’s inaugural season opener Opera 101 lectures at the Alberta Art Gallery and find out all the background, info, and nitty-gritty musical details of the opera word. January 25, 2012 and April 11, 2012. www.edmontonopera.com
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THE MIKADO 37
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& EDMONTON OPERA CHORUS SOPRANOS Jill Hoogewoonink Betty Kolodziej Christine Ledig Kirstin Piehl
MEZZO SOPRANOS Charlotte Burrowes Katie Jackson Joyce LaBriola Patrece Maluzynsky
TENORS Robert Bradford Kaden Forsberg Robert Rock Daniel Rowley
BASSES John Adria Greg Maluzynsky Andrae Marchak John Yun
EDMONTON SYMPHONY ORCHESTRA William Eddins, Music Director
FLUTE
TROMBONE
VIOLIN 2
BASS
Elizabeth Koch Shelley Younge
John McPherson Kathryn Macintosh
OBOE
TIMPANI
Jan Urke John Taylor Janice Quinn Rob Aldridge
Julianne Scott David Quinn
Brian Jones
Dianne New Susan Flook Heather Bergen Pauline Bronstein Robert Hryciw Zoë Sellers Murray Vaasjo Tatiana Warszynski
BASSOON
VIOLIN 1 Eric Buchmann Virginie Gagné Broddy Olson Richard Caldwell Joanna Ciapka-Sangster Alissa Cheung Anna Kozak Aiyana Anderson Neda Yamach Diana Sapozhnikov
VIOLA
Lidia Khaner
Barry Nemish
CLARINET
PERCUSSION
William Harrison
HORN Allene Hackleman Megan Evans
TRUMPET Robin Doyon William Dimmer
Stefan Jungkind Charles Pilon Bonnie Yeager Rhonda Henshaw Mikiko Kohjitani Andrew Bacon
PERSONNEL MANAGER Eric Filpula
LIBRARIAN Sheila Jones
CELLO Colin Ryan Sheila Laughton Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin
THE MIKADO 41
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42 THE MIKADO
9720 102 Ave., Edmonton, AB T5J 4B2 Box Office: 780-429-1000 • Administration: 780-424-4040 • Fax: 780-429-0600 Email: edmontonopera@edmontonopera.com www.edmontonopera.com
EDMONTON OPERA BOARD OF DIRECTORS 2011-2012 SEASON
Kyle Murray, Chair Joanne Beaton, Past Chair Irv Kipnes, Vice Chair Ken Keenleyside, Treasurer Robert Bessette Bill Campbell Julie Conlin Katherine Braun
Laura Fitzgerald Jeffrey Jansen Bertrand Malo Lynn Mandel
Axel Meisen Reza Mostashari Robert Rock Katie Soles
EDMONTON OPERA STAFF Sandra Gajic, CEO Gwen Horvath, Administrative Assistant/ Board Secretary Jeff McCune, Artistic Administrator Analee Roman, Director, Finance Tim Yakimec, Director, Production Clayton Rodney, Technical Director Darren Staten, Fund Development Manager Jelena Bojic, Director, Marketing & Communications Court Laslop, Technical Systems Manager Carlye Highbaugh, Communications Coordinator
Amanda MacRae, Education & Community Outreach Coordinator Adrienne Wong, Fund Development Coordinator /Volunteer Coordinator Megan Spaner, Archivist Cameron MacRae, Creative Coordinator Kirstin Piehl, Box Office Supervisor Kelly Sheard, Communications Advisor Peter Dala, Chorus Master Deanna Finnman, Head of Wardrobe Ha Neul Kim, Stage Manager
PRODUCTION STAFF Brenda Inglis, Wardrobe Assistant Michelle Warren, Wardrobe Assistant/ Head Dresser Judith Darough, Cutter Kathleen Todoruk, Cutter Kathryn Neuman, Stitcher Sharon Templeman, Stitcher Ava Diehl, Stitcher Jaylene Wiebe, Milliner Kathleen Mulder, Dyer Chantel Fortin, Head of Props Katie Hartfeil, Props Assistant Nancy Horn & Judy Morley, Wigs & Hair
Michael DeVanney, Wigs & Hair Cathy Nicoll, Make-up Noreen Jani, Make-up Assistant Geoff Bacchus, Head Carpenter Greg Brown, Head Scenic Carpentry Al Kliss, Head Flyman Jacquie Dawkins, Surtitle Cuer Alison Hardy, Head Electrician Robert Smale, Head of Sound Len Aston, Volunteer Stage crew courtesy of I.A.T.S.E. Local 210 THE MIKADO 43
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The Director’s Circle recognizes those patrons whose significant financial support and on-going 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 780-424-4040.
VISIONARIES ($250,000+) Dianne & Irving Kipnes Rob Hood Estate BENEFACTORS ($150,000-$249,999) Francis Price & Marguerite Trussler TRUSTEES ($100,000-$149,999) LEADERS ($50,000-$99,000) PATRONS ($25,000-$49,999) C.J. Woods Jim & Sharon Brown SUSTAINERS ($5,000-$14,999) Anonymous Joanne & Derek Beaton Sandra Gajic Frederic & Alma Gojmerac Mark & Nancy Heule Laurence Jewell Steven & Day LePoole Axel Meisen & Barbara Girard Kyle & Colleen Murray Arnold & Grace Rumbold Ed Wiebe & Marcia Johnson
MEMBERS ($1,750-$4,999) Tricia Abbott Leyland & Martine Adams Darlene Acton James Archibald & Heidi Christoph Bill & Dorothy Astle Attia Reeve Barristers & Solicitors Beresh Cunningham Aloneissi Sam & Sonia Azer Rhonda Baker Douglas K Bingham & Sheila Janki-Bingham Wayne Branch Kathryn Buchanan Joyce Buchwald Branko Calic David & Carol Cass David & Patricia Cassie Vern Chichak & Patricia Armitage Mary Chisholm Bill & Carole Clark Marian Clarke Debbie Clifford Elaine Coachman Richard Cook, Esq. John & Ann Dea Patrick & Joan Dea Anne Marie Decore George Dundas & Grant Townsend Robert Dunseith Larry & Ellen Eberlein Donald Edie Heinz & Donna Feldberg Joseph Fernando Robert & Doreen Fessenden Laura Fitzgerald Phyllis Fleck Hans & Susanne Forbrich Marie Foster Liz Gildner Peter & Astrid Griep Gunn Law Group Gabor Gyenes & Erika Mullner Linda Hamilton Kent Haryett The Havin Family Brian & Jeanne Hetherington Karen & Pamela Hofmann John & Susan Hokanson George Ilagan & Paul Hastings H L Irving Jeffrey Jansen William & Patricia Jaschke Royce & Mary Ann Johnson Bill Johnston
Patricia Kiel Harold Kingston & Marie Desrochers Juri & Helle Kraav Brian Kucey Libuse Kuzel Christine Kyriakides Peter & Jean Langford-Jones Florence Lede Mary LeMessurier Mark & Nina-Leigh Lindsay Hilliard & Nancy MacBeth Judy & Stuart Mackay Laurel McKay Bob & Bev McNally Carman & Averie McNary Mary McPhail Michael & Mariette Meier Neil & Susan Miller Arliss Miller Ken & Gerda Miller Risha Milo John Oberg Fath Group/O’Hanlon Paving Eleanor Olszewski Jack & Esther Ondrack Parlee McLaws Linda & Gene Pilarski Barbara Poole Aline Pratch Robert Prybysh Russell M Purdy Leonard Ratzlaff Kelly & Renee Redinger James & Vivian Redmond Rosanna Saccomani Prof Corp Hilary Rose Bill Rutledge & Joan Lopatka Alan Rose & Judy Schroder Michel & Sylvie Sauve Warren Schmitz Maria T Schneider Gabe & Connie Shelley Eira Spaner Michael & Elizabeth Thain Dennis Todoruk & Susan Stauffer Martin Thorne Chris J Varvis Catherine Von Hohenbalken Peter & Joyce Walton Peter & Elaine Watson Jack Watson Dan & Winnie Wiart Robert A. Wilson Bill Winter Paola Zanuttini Leon & Vonnie Zupan
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 780.424.4040 or email individual.giving@edmontonopera.com.
ENTHUSIASTS ($750-$1,749)
Legal Education Society Of Alberta Victor & Christine Lirette Ackroyd Barristers C N Lund & Solicitor Lloyd Malin Fraser Milner Stephen & Lynn Mandel Casgrain LLP Bob & Debbie Mandlis IBM Devon Mark and James McGinnis Alan VanderWell Barr Picard Oline Markine Ian Reid Alan Mather Doug & Devika Short Timothy Mavko Laura Stevens Denis & Ruth McGettigan Keith McNicol SUPPORTERS Linda Medland-Davis ($250-$749) Catherine Miller E.B. Allan Miller Thompson LLP Amalco Mgmt Ltd Moreau & Co Larry Anderson Les Moss Andrew J Hladshevsky Chady Moustarah Prof Corp Moustarah & Co Janine Andrews Ruth New Len & Andree Aston John Ogilvy Akram Attia Aaron & Jean Oshry Sam & Sonia Azer Hanne Ostergaard B.A. Beresh Prof Corp Edward & Geri Papp Lucie & Armand Baril Wesley Pedruski Joan Bensted George & Blair Chahley Teresa Pemberton Robert Bradford Mary Phillips-Rickey & Edwin Bridges Russ Rickey Janet Carle Steven Phipps Phyllis Clark Norman W. Picard Valerie Cload Fay Plomp Brenda Dale Nancy Power Danielle Dalton Clarence Preitz Sheila Davidson Peter Purdon Paul Kelly Dawson Marlene Regehr Milton & Sharon Davies Susan Richardson Mary Jane Dawson Rod J A Gregory Prof Corp Frederick & Tamara Day Alexandra Sanderman Iris Diduck-Rudnisky Barbara Seadon Ken & Judith Duffin Kevin Short Duncan & Craig LLP Gerry & Barbara Sinn Ruthanna Elson Michael & Nance Smith Emery Jamieson LLP Paul & Carolyn Sully David Finlay C T S Sydie Kevin & Rachel Foster Tryzub Enterprises Ltd Janet Franklin Donna Valgardson Shirley & Jim Funk Stella Varvis & Peter D Gibson Paul Grossman Betty Grever Ian Wachowicz Linda Hall Ezekiel Weis Kerry Hart Howard & Joan Welch Zenia Hawrysh James & Sheila Wheatley Kalil Haymour Lorraine Wilgosh John Henderson Doris Wilson Lois Hingley Matthew Woodley Hu Eliot Young Prof. Corp. John Yun Pavel & Sylva Jelen George & Gloria Zaharia Johnson & GUARDIANS Dunseith Prof Corp Alexandra & Malcolm King ($150-$249) Robert & Erika Amy Abbott Juthner-Krtschan John Adria Loretta Klarenbach John Agrios James & Yvette Koshman Kelly Aisenstat Lorne Kott Peter Allen Don & Lorna Kramer Amelio Prof Legal Corp Brian Kucey & Steve Andrew Elena Hernandez-Kucey J Archibald John P Kudrinko Nancy Aust Prof Corp Kathryn Baars Igor & Galia Kwetny Diana M. Bacon
Kevin Barclay Stella & Walter Baydala Robert Beck Alan & Alice Bell Gary Biasini Myra Bielby Lucille Birkett Chereda Bodner Michelle Bogovics Grace Bokenfohr Marion Boyd Ray Bradley Marvin Braun Donald & Diane Buchanan Robert & Helen Buck Marta Burns Brian Burrows Grant Cameron Sharon E Campbell David & Karen Cantine Arman Chak Chris Chandler Donald Chisholm Terry Clackson Joseph Collier Mark & Ann Carol Comeau Meghan Conroy Jean Coutts Shelagh Creagh Michelle Crighton Debbie Croden Adrian Currie D B Denis Prof Corp Joan Dalwood David Cunningham Prof Corp Frank De Angelis Karine De Champlain Tony De Jong David De Vere R.J. & Janet Dmytruk John Donahoe M Donnelly Wendy Doughty & Jim Klingle Allison Downey-Damato June Emery W.D. & Donna Ethier Noella Fagnan Gordon Falconer Lois Field Tullio & Justina Filice Melissa Fleck Karin Fodor Michel Fontaine Frank P.K. Friesacher Charles & Elizabeth Gardner Adam Germain Shannon Ghasri Duncan Gibson Shirley Gifford Jason Glabb Margaret Golberg Marie Gordon Carol Graham Charles & Ann Grant Danielle Green Hans Hahn Scott Hammond John Hautmann K Heavenor Patricia Henderson
Richard Hilborn Stephen Hiller Hladun & Co Ronald Hopp Felicity Hunter Prem Jaskowiak Allyson Jeffs Yvonne-Marie Johnson Valerie E. Keates Lindsay Kelly Janine Kidd Jeff Klassen Ron Kruhlak Bud & Gloria Kushnir John & Diane Kuzyk Jack & Diane Latham William Lawless Angela Lee Allan Lefever Brian Lesyk Kevin Lieslar Philip G. Lister Doug & Joan Longley Javier Lozano Barbara & John Luckhurst Terry Lui George & Laura Magnan Bill Mahon Berniece Malone Jean McBean Lawrence McCallum Joyce & Max McCann Bill Mcelhanney D McGettigan Carman & Averie McNary Hugh McPhail & Yolanda Van Wachem Gary McQuaig Jacqueline Meffen Fayaz Merali & Keli Bulger Paul Messner Peter & Carole Michalyshyn Andrea Moen The Morie Promotional Group Ronald Morin Judy Nail John Neilson & Susan Cribbs Ruth New Charlette Nodrick Denis Noel Jen Nowacka Al O’Brien Mike O’Dell Allan & Pauline Oliver Rob & Ursula O’Neil Kirsten Ostler J Ouellette Traci Overacker Paul Daryl Wilson Prof Corp Del Perras Ryan Persad Brian Peterson Prof. Corp Karen Platten Phil Renaud Keith Ritter Terry Romaniuk Alex & Mary Lou Rose Joanne Ross Carolynne E Ross Peter Royal
Kathleen L Savey Oliver Schnider Bill & Mary Schultz Richard Secord Farrel Shadlyn Robert Shaigec Sanjay Sharma Shelly Lloyd Atkinson Prof Cor Randal Shopik Jerome Slavik Kierstin Smyth Matthew & Julie Snowdon Darin Sprake David Steer W Stevenson M. Deborah Stewart Timothy Stonhouse Martin & Heike Stribrny J Sult Doreen Sulyma C T S Sydie David Syme Kevin Tamblyn Hilary Tanasichuk Louis Te Sylvia Tensfeldt Kent Teskey The Counsel Network Dennis R.G Thomas Rhonda Tibbit Marissa Tordoff Karen Trace Lisa Trach Laurie Trahan Aran Veylan Prof. Corp A.C. Visman Allan & Elizabeth Wachowich Scott Watson Janice Webb William Wedderburn Karen Whiting David Williams Darlene Wong Morley & Patricia Workun Susan Yare Phillippe L Diane Young
CONTRIBUTORS ($100-$149)
Sonia Allore Anonymous Craig Aumann James & Kelly Barnie Vicki Barrow & Julie Maines Carl & Doreen Betke Dennis Blumenthal Doris Bonora & Lorne Gunter Vivien Bosley Thomas Bray Aubrey Burrowes John P Chang Cheng-Hsin Chang Janet M Clark Kenneth Cleall Roger & Carol Cohen Diane & Sandon Cox Allen & Simonne Crowley Betty Lou Docherty E Mirth Professional Corp Marion Elder
Daniel Ellerington Richard & Carole O’Gorman Ria Busink John Paul & Donna Read Kathleen Janssens Helen Cairns Amanda Riggs Marilyn Elliott Atul & Chitra Omkar Chris & Susan Jensen Sharon Campbell Bette Roehr E R Elson Fred Otto Graham Johnson Rose Carter John Rooke Alfred & Coleen Falk Isabel Paddon Monica Johnson Pierre Chan Julie Roy Werner Fenske Robert Philp Christina Jones Chris Samuel Ferdinand Filiplic Eugene & Jeanne Ratsoy Carol Chandler Carla Jones Tania Sarkar Julie Gagnon Derek & Ashelyn Redman Eva Chipiuk Alan Jones Chung Chu Fredrica Schutz Donna Groves Yvonne Rekken Walter Kaminsky Karin Schwab Mary Ellen Haggerty Gunter & Ingeborg Richter Brendolyn Clarke Reuben Kaufman Gord Collins Carrie Sharpe Hans Hahn Suzanne Russell Collista Coles Prof Corp Valentine Khaner Mary Sheldon T Hayashi Tom & Bev Sawyer Lewis Klar Charles Davison & Leslie Shragge Stephen Heatley Wendy Schelske Abbey Hunter Davison Betty Kolodziej Keith Shustov R Henderson Paul & Barb Shelley Dawn Pentelechuk J. Trina Kondro George Simmt Cathryn Heslep Todd & Tia Shipley Prof Corp Bertha Krissie Vivian Simpkin Judith Hibberd Joshua Siewert Morgan Deacon Colin Laychuk F Slatter Geoffrey & Brenda Ho James & Debra Skitsko Marilyn Dent Patricia & Alexander Lee Yvonne Smith Ron Holgate Anne Strack Sarah Desouza Ferne Lereverend Janice Smith Lorraine Hopfe Claus & Jennifer Thietke Denise Dewitt Mike Lippe Mark Smith Barbara Howarth Janette Thorvaldson Bonnie Dixon Ann Lockwood & Phyllis Smith Erik & Franziska Jacobsen Michael & Heime Thwaites Isabelle A Donald Vytenis Gotceitas Ian & Irene Sneddon D Janet Jansen Donna Trenholm Kristen Logan George Fraser Howard Starkman Elizabeth Johnson Dennis Vance Richard Loken Penny Frederickson Bud Steen Maie Kellerman Maureen Vandenberg Katherine Love Maurice Fritze Michael Stevens-Guille H.S. Kent Terry & Michele Veeman Laurie Fumagalli Diana Lowe Heather Stickney & Cherisse Killick-Dzenick Trudy Velichka Christopher Luchak Lauren Garcia Louise Linarez F Albert Lavergne Ernest & Lucille Walter M. David Gates Donald Lucky Carrie Strohschein James F Lavers E Marie Williams Anne Magee Robert Gillespie Linda Svob Ferne Le Reverend Noel Xavier Bertrand Malo Adam Gotfried Anne Switzer Rena Liviniuk Greg & Patrece Allan Gray Doug Taylor FRIENDS Maluzynsky Richard Loken Sheila Greckol Christine Thibert ($50-$99) Robert McGregor Richard Lyne Paul Greep Robert Thibert Marjorie Anderson Laurel McKay Antoinette Marchand Rod Gregory Susanne Thompson Nayha Archarya Keith Millions John & Peggy Marko A. R. Grynoch William Tonn Stephanie E. Armengau Donald R Milne Joan H. Marshall Jean Guertin Evaline Ulmer Yoko Azumaya Kevin Mott Craig Handley Dawn & Terrence Mark Vigrass Rhonda Baker Anita Myers Matchett Charlene Hay Alan & Betty Vladicka Deborah Barnes Scott Niblock Elizabeth Mcara Teresa Haykowsky Rebekah Weizman Janet Millar & John Collier Debbie Bishop Melanie Haynes Richards Ken Nielsen Madelaine Wessel Donald Bishop Eric Oddleifson Arliss Miller Keith Hennel Jolanta Wiens Janis Blakey Sharon Ohayon Miller Capital Corp Denise Hildebrand Doug & Mary Wright Rhonda Breitkreuz C H Parks Katy Holland Marney Mustard Tim Yakimec & Kelsey & Lyle Brookes Michelle Pidhirney Bonny Hubert Jocelyn Lamoureux Sheila Steinhauer-Mozejko Annabel Brophy Chris Prystai Tina Huizinga Daina Young Ruth New Frank Buckreus Evangeline Rand Professional Corp James Ogle Edmonton Opera would like to thank the Rob Hood Estate for their donation in support of Artistic Excellence. DONATIONS MADE IN MEMORY OF KIMBERLEY HEARD: Monique & Curtis Bandura Maureen Yates-Millions & Keith Millions James & Kelly Barnie Motion Industries (Canada) Ltd. Reta Berte Derek & Glenda Pickering Gail Dennis-Moisey Salisbury Composite High School Nicole Duhamel Laura Svajlenko Christine Jones Dennis & Sharon Turner
Only 2011/2012 season donations and/or pledges processed until December 1, 2011 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 780-424-4040, ext 2003. We apologize for any inconvenience. Although space limitations allow us to list only charitable contributions of $50 or more, we gratefully acknowledge all donations. Each gift, regardless of size, helps to make Edmonton Opera performances possible. Thank you!
FRIENDS OF EDMONTON OPERA DONOR BENEFITS Income tax receipt Acknowledgement in production playbills Voting privileges at Annual General Meeting Newsletter & advance notices Priority ticket services Invitation for two (2) to one dress rehearsal Invitation for two (2) to one backstage tour Exclusive membership opportunities*
BENEFITS CHART
FRIEND
CONTRIBUTOR
GUARDIAN
SUPPORTER
ENTHUSIAST
$50+
$100+
$150+
$250+
$750+
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• • •
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DIRECTORS’ CIRCLE
$1,750+
• • • • • • • •
*As a Director’s Circle member, you will have an array of added benefits such as reserved premium parking, invitations to opening night receptions during and after the show and other exciting opportunities! Visit www.edmontonopera.com for a complete list of Directors’ Circle benefits and call 780-424-4040 ext. 2003 to make your contribution.
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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 780-424-4040, ext 2003.
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 Canadian Arts and Heritage Sustainability Program. Thank you. EDMONTON OPERA’S ENDOWMENT FUNDS: Sam & Sonia Azer Family Fund Frederic & Alma Gojmerac Family Fund Canadian Arts and Heritage 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
2011/2012 ENDOWMENT DONORS & ARIA LEGACY MEMBERS Anonymous Tricia Abbott John Adria Bill & Dorothy Astle Alan & Alice Bell Jelena Bojic Robert Bradford Katherine Braun Marian W Clarke Erin Clyde John & Ann Dea Brian Deedrick Glenda Dennis Betty Lou Docherty Maggie Dower Ivan & Ksenia Fedyna Laura Fitzgerald Karin Fodor Sandra Gajic Frederic & Alma Gojmerac Gabor Gyenes
Brian & Jeanne Hetherington Mark & Nancy Heule Karen & Pamela Hofmann Gwen Horvath John Adria & Caroline Howarth Laurence Jewell Bill Johnston Robert & Erika Juthner-Krtschan Irv & Dianne Kipnes Betty Kolodziej Shelagh Lam Steven & Day LePoole Constantino & Barbara Loutas Brenda MacDonald Stuart & Judy Mackay Amanda MacRae Stephen & Lynn Mandel
Devon Mark Arnold & Grace Rumbold Roderick & Oline Markine Don Scott Cameron MacRae Kelly Sheard Jeffrey McCune Darren Staten Grace Megli-Turner Catherine Szabo Axel Meisen C.J. Varvis Laurie Mereu Angus Watt Arliss Miller Howard & Joan Welch Kyle & Colleen Murray Robert A Wilson Jack & Esther Ondrack Adrienne Wong Patti Pon Tim Yakimec Barbara Poole Vonnie Zupan Clarence Preitz Additional financial Francis Price & contributions from Marguerite Trussler members of the Russ & Marg Purdy Edmonton Opera Chorus. Leonard Ratzlaff A generous endowment Robert Rock gift has been made by the Clayton Rodney Edmonton Opera Guild Analee Roman In honour of the Hilary & Robert Rose Edmonton Opera Chorus.
So much nature to explore*
Front Attached Garage Homes
17 Showhomes
Rear-Laned Homes
Rabbit Hill Rd.
*It’s like your own backyard safari. Minus the lions, tigers, and bears.
Paired Homes Townhomes
CreekwoodChappelle.com
Putting Community Centre Stage
Brookfield has been building Edmonton’s greatest communities for over 40 years.
Chappelle Gardens The Orchards at Ellerslie Lake Summerside
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We’re investing in the next generation of performing artists, and banking on some entertaining returns. Through the RBC Emerging Artists Project, we’re committed to helping emerging performing artists develop their skills and bring their visions to life. That’s why we’re proud to support the Edmonton Opera for helping emerging artists devlop their craft and cultivate their career.
Helping build a better future.
® / ™ Trademark(s) of Royal Bank of Canada.
39786 (10/2011)
&
PARTNERS
SPONSORS OF
GOVERNMENT & FOUNDATION SUPPORT
SEASON SPONSORS Dianne and Irv Kipnes SPONSORS
Don Wheaton Ltd.
City Lumber Corporation and the Rosen Family In honour and recognition of Zita & John Rosen, Founders
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Edmonton Opera is grateful for the support of the following Government agencies, sponsors, suppliers and media partners For more information about how you can support the Edmonton Opera, please call 780.424.4040 or e-mail info@edmontonopera.com.
EDUCATION DRESS REHEARSAL SPONSORS
MEDIA SPONSORS
OFFICIAL SUPPLIERS
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E February 14, 2012
Edmonton Opera presents the Valentine’s Gala at the Shaw Conference Centre. Call 780.424.4040 for more information.
April 11, 2012
Edmonton Opera presents Opera 101 – A Guide to the Opera, at the Art Gallery of Alberta. For more information on this free event, please call 780.429.1000.
April 15, 2012
Edmonton Opera presents Opera Brunch, at The Westin Edmonton. To purchase tickets, please call 780.429.1000.
April 21, 24, 26, 2012
Edmonton Opera presents Fidelio at the Northern Alberta Jubilee Auditorium.
June 14, 2012
Edmonton Opera presents the 17th Annual Golf Classic, at Glendale Golf and Country Club. Please call 780.424.4040 for more information.
June 22, 2012
Edmonton Opera presents the 3rd Annual Opera al Fresco, at the Devonian Botanic Garden. Please call 780.424.4040 for more information.
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The new GS is coming.
www.lexusofedmonton.ca 11204-170 Street 780-466-8300
LEXUS OF EDMONTON IS PROUD TO SPONSOR THE EDMONTON OPERA