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COVER:
Art Director: Annie Mack Photographer: Deanna Milligan Lighting: Ramsey Fendall | Model: Alex Love Kink | Lead Stylist / Costume Design: Lisa Marie Read Headpiece Design / Assistant Stylist: Marta Jaciubek-McKeever | Makeup Artist: Melody Attrill | Hair Stylist: Ysabella Branker | Properties & Assistant Costumes: Stephen Elgar Photographer’s Assistant: Jo Gaffney
DIE FLEDERMAUS
A MESSAGE FROM THE GENERAL DIRECTOR AND BOARD CHAIR
Welcome back to the Queen Elizabeth Theatre! With its huge chorus, rollicking party scene, and rousing songs like “King Champagne,” Strauss ll’s most beloved operetta is the perfect way to pop the cork on our celebratory 65th anniversary season. An audience favourite since its 1874 premiere, Die Fledermaus remains the most-performed operetta in the world for good reason. The vaudeville and farce-inspired masterwork revels in effervescent odes to drinking, dancing, laughing and loving, while a madcap plot pinballs through masquerade and mistaken identities, romantic dalliances, pranks, and payback.
We’re excited to sit back and listen as Maestro Jacques Lacombe, an avowed Strauss aficionado (a Straussie, perhaps?), takes us into the boisterous heart of an operetta that deftly draws polkas, waltzes, and other popular song forms into its deceptively sophisticated score. Director Ashlie Corcoran returns to direct her second VO season opener in a row, having helmed the fantastical The Magic Flute in 2023. We’re excited to have her high-spirited, 1960s-infused take on this comedic gem set the tone for another spectacular season.
Speaking of which, now’s the time to get in on the celebrations for the rest of this milestone anniversary season. Tickets for Jonathan Dove’s modern classic Flight and Puccini’s poignant masterwork Madama Butterfly are on sale now. Opt for a two-opera Duet package and you’ll get the best prices, unlimited exchanges, exclusive offers, and—most importantly—two absolutely exceptional opera experiences.
We’re delighted to launch this extra-special anniversary season with an operetta that radiates charm, wit, and good-natured mischief. Let’s all raise a toast to a bright future for opera in Vancouver, built on 65 years of visionaries, virtuosos, and vibrant community!
Tom Wright, General Director Krista Johanson, Vancouver Opera Board Chair
NOTES FROM THE CONDUCTOR JACQUES LACOMBE
The great German composer Johannes Brahms, who for almost 20 years was too intimidated to publish his first symphony, believing that after Beethoven no one could write a symphony, was asked to give his opinion about the Blue Danube Waltz by Johann Strauss ll. His answer: “it is as good as a Beethoven symphony!”
In music, as in many other art forms, artists and creators who achieve popular success during their lifetime are often considered in certain “circles” to be producing art of a lower value; art for the masses rather than the “happy few.” Johann Strauss ll, “the king of the waltz,” has long suffered this sort of judgment. He is a composer who managed throughout his career to produce works that garnered immediate popular success, yet he continued to develop his own personal style while bringing traditional dances such as the waltz, the polka and the gallop to a very high level of sophistication.
Surprisingly enough, the music of Johann Strauss ll is rarely part of the curriculum of any music program. To be honest, I didn’t know much about it, nor did I pay serious attention to it until I went to study conducting in Vienna in the mid-80s. It was there that I came to understand Brahms’ comment and realized that, as simple as it may seem at first glance, Johann Strauss’ music was complex and tricky if you try to perform it with the right style.
This is the approach that my colleagues and myself have been taking in preparation for this production of Die Fledermaus, with the hope that our performance will bring you as close as possible to the heart of Vienna!
The intrepid Canadian soprano has emerged over the last half decade as one of the most vital and original musicians of her generation.”
— The New Yorker
NOTES FROM THE DIRECTOR ASHLIE CORCORAN
Welcome to our vibrant and playful rendition of Die Fledermaus, where we transport Johann Strauss II’s classic operetta into the lively world of the 1960s. This era, known for its exuberance and style, provides a perfect backdrop for the operetta’s themes of disguise, deception, and playful revenge.
Popular references from this period are infused throughout – especially in Act II, where the unknowing players in Falke’s game find themselves at a themed costume party and the stage becomes a lively tableau of 1960s cinema and television characters. At this party there are layers upon layers of disguise and intrigue – heightening the comedic and dramatic elements of the operetta.
I am thrilled to collaborate with our amazing musical leader, conductor Jacques Lacombe and his humour, spirit, and precision, as well as our extraordinary cast of singers, whose remarkable talents bring depth and charm to this production. Mark Crawford’s fresh and specific adaptation of the scenes to the 1960s allows for the humour of Die Fledermaus to resonate with a contemporary audience while staying true to its original charm. Choreographer Shelley Stewart Hunt joins us to infuse her trademark wit into the physicality of the world.
Together, we aim to create a production that celebrates the essence of Strauss’ operetta and also the energy, distinctive fashion, and iconic pop culture of the 1960s. We hope you enjoy this journey through a playful world of disguise, laughter, and revelry.
Thank you so much for joining us!
SYNOPSIS
ACT I
At Rosalinde and Gabriel von Eisenstein’s home, the maid Adele asks to leave work under the pretext of caring for her ailing aunt, though she actually wants to join her sister at Prince Orlofsky’s masquerade ball. Rosalinde refuses. Rosalinde’s old flame Alfred arrives and declares his love to Rosalinde, who resists until he begins to sing. Hearing someone approach, she sends Alfred away, but not before he’s convinced her to let him return later.
Gabriel and his lawyer, Blind, arrive from court: Eisenstein has been sentenced to eight days in jail for assaulting a police officer and he must begin serving the next morning. Furious, he dismisses Blind. Gabriel’s friend Dr. Falke convinces him to join him that night at Prince Orlofsky’s costume party. Eisenstein agrees, accepting Falke’s suggestion that he bring his famous pocket watch to charm the ladies. While Eistenstein gets ready, Rosalinde receives a party invitation she thinks is from Prince Orlofsky, but is actually from Falke. As her husband departs, she dismisses Adele for the night and receives the ardent Alfred. Their rendezvous is interrupted by the prison warden Frank, who has come to arrest Eisenstein. To preserve her good name, Rosalinde persuades Alfred to pose as her husband, and believing him to be Eisenstein, Frank takes Alfred to jail.
ACT II
The party is in full swing. Adele’s sister Ida is worried that Adele isn’t classy enough, so she decides to present her as “Olga,” a Russian actress. Eisenstein enters, posing as a Frenchman. He immediately recognizes Adele, but she denies it. Frank is also pretending to be French, and he and Eisenstein become fast friends. Rosalinde, disguised as a Hungarian countess, sees her husband flirting with Ida and sings an impassioned ode to her betrayed homeland. When a smitten Eisenstein starts flirting with her, she steals his pocket watch. Ivania teases Falke about how he earned the nickname “Dr. Bat.” Champagne flows, and the revellers dance and sing through the night. At dawn, Eisenstein rushes off to jail, as does Frank.
ACT III
Frank arrives at the prison, still buzzing from his evening spent at the party. Frosch, the jailer, is annoyed by her boss’ late arrival, and by the nonstop singing of Alfred in the cell. Ida and Adele arrive, and Adele hopes Frank can further her stage aspirations. Frank sends them off and receives Eisenstein, who’s surprised to learn his cell is already occupied by a man claiming to be him, and who was found in his home with Rosalinde. The lawyer Blind arrives, saying he was summoned to handle a false arrest case. Determined to get to the bottom of things, Eisenstein disguises himself as the lawyer to confront the impostor. Rosalinde rushes in. She tries to secure Alfred’s release, asks “Blind” to press divorce charges against her wayward husband, and is upset when the “lawyer” seems to take Eisenstein’s side. Removing his disguise, Eisenstein accuses his wife of promiscuity. Rosalinde produces his watch, revealing that she was the “countess” he tried to seduce. Falke arrives with partygoers and triumphantly explains that the whole evening was payback for Eisenstein’s previous practical joke. Eisenstein begs Rosalinde to forgive his attempted infidelity, blaming his misbehavior on the party’s plentiful champagne. She refuses at first and threatens divorce, before forgiving him. After a night of merry mischief, all sing a final ode to the joys of champagne.
IMAGES FROM THE PRODUCTION OF LA CHAUVE-SOURIS (THE BAT) AT OPÉRA DE QUÉBEC IN MAY 2024, DIRECTED BY BERTRAND ALAIN. PHOTO: EMMANUEL BURRIEL.
DANCING IN DISGUISE: THE ART OF DECEPTION
Johann Strauss II’s Die Fledermaus is an invitation to a world of elegance, wit, and playful mischief. As an audience member, you’ll find yourself drawn into a sparkling, waltz-filled journey where nothing is quite as it seems. The characters in Die Fledermaus embrace the joy of deception, donning masks and false identities to revel in a world where societal rules are temporarily cast aside. This operetta invites you to do the same: to laugh, enjoy, and reflect on the roles we play in our own lives.
Strauss’ lively score is the driving force behind the operetta’s infectious charm. The iconic waltzes swirl through the air, pulling you into the characters’ world of intrigue and indulgence. As Carl Dahlhaus observes, “the waltz in Strauss’ hands transcends mere dance music, becoming a symbol of the festive, carefree life that dissolves in its own transience.” The overture, with its vivacious tempo, immediately sets the tone for an evening of celebration and escapism. The famous “Laughing Song” (“Mein Herr Marquis”) highlights Strauss’ ability to marry humor and musical sophistication, while the “Drinking Song” (“Watch Duet”) embodies the carefree spirit of the night, inviting characters—and the audience—to let go of reality.
The themes of deception and hidden identities explored in Die Fledermaus have resonated across various artistic forms. Films like Stanley Kubrick’s Eyes Wide Shut (1999) and Anthony Minghella’s The Talented Mr. Ripley (1999) delve into the allure of disguise and the complexities of pretending to be someone else. David Wyn Jones remarks that Die Fledermaus is “not merely a farce, but a subversive commentary on the contradictions of bourgeois society, where pleasure and propriety are in constant conflict.”
As you experience Die Fledermaus, you’ll be transported to a world where fantasy and reality blur, and where music becomes the vehicle for both joy and reflection. For a few hours, we can wear a mask, waltz through the night, and indulge in the magic of the moment.
Ashley Daniel Foot is the Director of Engagement and Civic Practice at Vancouver Opera, where he leads innovative programs connecting diverse communities through opera. His work focuses on making opera accessible, especially through educational initiatives like Opera Adventures at Vancouver Public Library and Opera Experience, an immersive, year-long program that gives high school students behind-the-scenes access to Vancouver Opera productions. He also hosts the podcast Inside Vancouver Opera, exploring the stories behind the art form.
DIE FLEDERMAUS
by Johann Strauss II
Libretto by Karl Haffner and Richard Genée
OPERA IN 3 ACTS
2 hours and 45 minutes, including one 25-minute intermission.
In German with English dialogue and SURTITLESTM
First performance at the Theater an der Wien in Vienna on April 5, 1874.
Scenery & Costumes constructed by Opéra de Québec
Additional Costumes & Scenery built by Vancouver Opera
CONDUCTOR
Jacques Lacombe
DIRECTOR
Ashlie Corcoran
CAST IN ORDER OF VOCAL APPEARANCE
Alfred Owen McCausland
Adele
Claire de Sévigné
Rosalinde
Lara Ciekiewicz
Eisenstein
John Chest
Dr. Blind
Lyndon Ladeur*
Dr. Falke
Peter Barrett
Frank Giles Tomkins
Ida
Heidi Duncan*
Orlofsky
Mireille Lebel
Frosch
Beatrice Zeilinger
Ivania
Simran Claire*
With the Vancouver Opera Orchestra and the Vancouver Opera Chorus.
Dialogue Adapted By
Mark Crawford
Assistant Director
Tayte Mitchell*
Choreographer
Shelley Stewart Hunt
Intimacy Director
Lisa Goebel
Set Designer
Julie Lévesque
Costume Designer
Émily Wahlman
Design Consultant
Kevin McAllister
Lighting Design
Gerald King
Assistant Lighting Designer
Jamie Sweeney
Associate Conductor / Chorus Director
Leslie Dala
Assistant Chorus Director / Principal Répétiteur
Tina Chang
Répétiteur
Perri Lo
Derek Stanyer*
Stage Manager
Michelle Harrison
Assistant Stage Managers
Emma Hammond
Katie Schmidt
Apprentice Stage Manager
Elsa Orme
SurTitleTM Creator
Sarah Pelzer
*Artists from the Yulanda M. Faris Young Artists Program.
ORCHESTRA & CHORUS
ORCHESTRA
FLUTE
Brenda Fedoruk, Principal
Anne-Elise Keefer PICCOLO
Anne-Elise Keefer OBOE
Emma Ringrose, Principal
Erin Marks CLARINET
Christopher Lee, Acting Principal
Yen-Han Chen BASSOON
Ingrid Chiang, Principal
Allan Thorpe HORN
Laurel Spencer, Principal
Nick Anderson
Heather Walker
Lyne Santamaria TRUMPET
Katherine Evans, Principal
Nikolaj Hansen TROMBONE
Jeremy Berkman, Principal
Jim Tranquilla
BASS TROMBONE
Graham Middleton HARP
Janelle Nadeau, Principal TIMPANI
Phillip Crewe, Principal PERCUSSION
Julia Chien, Principal
Lauri Lyster
Len Pearson VIOLIN I
Mark Ferris, Concertmaster
Angela Cavadas, Associate Concertmaster
Lawrie Hill
Rick Dorfer
Heilwig von Koenigsloew
Ken Lin
Ellen Farrugia
Evelyn Creaser-Rumley
Sarah Westwick
Hyunjung Julia Lim VIOLIN II
Rebecca Ruthven, Principal 2nd
Andrea Siradze, Assistant Principal
Domagoj Ivanovic
Ji In Kim
Petro Krysa
Adrianne Stride
Toni Stanick
Sandra Fiddes VIOLA
Tawnya Popoff, Principal
Isabelle Roland, Assistant Principal
Marie-Claude Brunet
Reginald Quiring
Mila Tymoshenko
Roxi Dykstra CELLO
Rebecca Wenham, Principal
Heather Hay, Assistant Principal
Susan Round
Ashton Lim
Harold Birston BASS
Maggie Hasspacher, Principal
Michael Vaughan, Assistant Principal
Meaghan Williams
Remi Yueming Xia
Orchestra Manager
Nick Anderson
Orchestra Stage Manager
Jim Tranquilla
Orchestra Librarian
Meaghan Williams
CHORUS
SOPRANO
D’Arcy Blunston
Rebecca Collett
Eve-Lyn de la Haye
Allyson Hop
Aviva Lacterman
Heather Pawsey
Szu-Wen Wang
Karen Ydenberg
MEZZO-SOPRANO
Francesca Corrado
Brenda Glass
Martina Govednik
Lisa-Dawn Markle
Heather Molloy
Megan Morrison
Elena Razlog
Dionne Sellinger
TENOR
Callum Alden
DJ Calhoun
William Grossman
Adam Kozak
Brent MacKenzie
Wade Nott
Mark Pepe
Don Wright
BASS/BARITONE
Angus Bell
Henry Chen
Jason Cook
Glenn deVerteuil
Dean Giustini
Willy Miles-Grenzberg
Zainen Suzuki
Philip Wing
SUPERNUMERARIES
Justin Daniels
Gabriel Eum
Danica Kobayashi
Nicole Laurent
Monica Munn
Sarah Shepherd
VO celebrates our talented colleague, tenor John Arsenault, who passed away unexpectedly October 4, 2024. John was a beloved member of the VO chorus for 13 seasons and performed supporting roles in numerous productions with us, including Aida, Norma, Salome, and Tosca. In recent years, John took up the baton as conductor and musical director for several local opera and musical theatre companies. In all that he did, John was known for his sharp wit and kind, generous spirit. We will fondly remember his deep impact on our musical community.
PRODUCTION TEAM
Director of Artistic & Production
Nicole Lamb
Company Manager
Kewen Huang
Technical Director
Jon Mottram
Head of Properties
Stephen Field Elgar
Assistant Properties
Jesse Orr
Head Scenic Carpenter
Vince Folgizan
Welder
Philip A. Piper
Head Scenic Painter
Omanie Elias
Production Assistant
Jimena Pacheco
Production Make-Up
Michael Croteau
Production Hair & Wigs / Wig Designer
Donnie Tejani
Head of Wardrobe
Roberta Doylend
Wardrobe Assistant
Lily Yuen
Stitchers/Cutters
Jayme Cline
Sarah Marchant
Victoria Klippenstein
Stephanie Kong
Audrey Nishi
Production Carpenter
Dale Baratelli
Production Electrician
Anna-Lena Steiner
Show Crew
Andie Mei Fong Ho
Bob Bancroft
Carlos Avila
Carolyn Reemeyer
David Raun
Edward Lazenby
Joel Johnson
Kate Rittenhouse
Mark Ransom
Martin Argus
Mike Phelan
Oriana Camporese
Phil Schulze
Saghar Bazargan
Sarah Marchant
Tony Brackstone
Vancouver Opera recognizes and thanks Big Wave Dave for 20 years of working together. You are an important part of VO’s crew history!
THANK YOUS
IATSE 118
Vancouver Civic Theatres
BIOS
JACQUES LACOMBE
Conductor
Active for over 30 years internationally, Jacques Lacombe has been Music Director of the New Jersey Symphony Orchestra, Orchestre Symphonique de Trois-Rivières, and Orchestre Symphonique de Mulhouse in France. He has collaborated with major opera houses, including the Metropolitan Opera House, Royal Opera at Covent Garden, and Deutsche Oper Berlin. Jacques Lacombe has recently been appointed Music Director at Vancouver Opera.
ASHLIE CORCORAN Director
Ashlie has been the Artistic Director at the Arts Club since 2018. Recent opera productions include Mozart’s Die Zauberflöte and Rossini’s Il barbiere di Siviglia at VO, as well as Die Zauberflöte for the Canadian Opera Company and Opera Philadelphia. Her recent theatre credits include Guys and Dolls, Little Shop of Horrors, Beautiful: The Carole King Musical, and Every Brilliant Thing (ACTC). Upcoming projects include Primary Trust and Waitress (ACTC).
GERALD KING
Lighting Design
Vancouver Opera: The Flying Dutchman, Evita, Otello, Dead Man Walking; Pacific Opera
Victoria: Vanessa, Carmen; The Citadel Theatre: Matilda the Musical, Empire of the Son; Bard on the Beach: Hamlet, Macbeth, Taming of the Shrew; National Arts Centre: carried away on the crest of a wave; Chicago Shakespeare Theater Co.: As You Like It; Shakespeare Theatre Centre (Washington, DC): As You Like It.
MARK CRAWFORD
Dialogue Adapted By
Mark is one of Canada’s most popular playwrights, with productions across the country and internationally. In Vancouver: Bed and Breakfast and The Birds and the Bees at Arts Club Theatre Company. His new play, The Golden Anniversaries, had its world premiere at the Blyth Festival earlier this year. Also an actor, Mark has performed on stages from coast to coast. This adaptation marks his opera début.
OWEN MCCAUSLAND
Alfred
Tenor Owen McCausland’s recent season highlights include Verdi’s Otello and La fanciulla del west with the Cleveland Orchestra, Mozart’s Die Zauberflöte with Vancouver Opera and the Cleveland Orchestra, and Stravinsky’s The Nightingale and Other Fables with the Adelaide Festival. He looks forward to joining the Canadian Opera Company this season for Berg’s Wozzeck and Bilodeau’s La reine-garçon.
CLAIRE DE SÉVIGNÉ
Adele
Recent and upcoming roles include Mother-in-Law in Innocence (San Francisco Opera, Adelaide Australia); L’Ange in Saint François d’Assise (Geneva); Adele in Die Fledermaus (Toulon, Avignon, Nantes, Rennes, Angers Opera); Blonde in Die Entführung aus dem Serail (Geneva, Finland, Zürich, Canadian Opera Company); Cunégonde in Candide (Geneva, Hamburg); Venus in Le Grand Macabre (Hamburg).
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ARTS UMBRELLA DANCE
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Credit: Michael Slobodian
BIOS
LARA CIEKIEWICZ
Rosalinde
Hailed for her “tour-de-force performance” as Floyd’s Susannah (Manitoba Opera), Lara has established herself as a dynamic, intelligent, and moving singing-actress. Her facility for fully transforming into a character, regardless of genre, has earned her the reputation of being an artistic chameleon. Lara also enjoys gardening, is an avid walker, loves fabulous footwear, and remains a prairie girl forever.
JOHN CHEST
Eisenstein
Chest’s “presence and delivery complement the dark, rich colours in his voice” (Opera Now).
Operatic highlights include: Billy Budd at San Francisco Opera; Pelléas at Glyndebourne; Faust in Toulouse and Madrid; Il barbiere di Siviglia in Torino; Don Carlos at Theater Basel; Don Giovanni for Angers-Nantes Opéra; Così fan tutte in Munich, Hamburg, and Berlin; and Le nozze di Figaro in Lyon, Luxembourg, Philadelphia, and Berlin.
LYNDON LADEUR, YAP
Dr. Blind & Alfred Understudy
Lyndon Ladeur’s favourite performances include Fadinard in Il cappello di paglia di Firenze and Nemorino in L’elisir d’amore. Internationally, Lyndon debuted at the Gilbert and Sullivan Festival in the UK, playing Marco in The Gondoliers and winning Best Male Vocalist. Lyndon completed his Masters of Opera at the University of Toronto in 2024. He studies with famed soprano Wendy Nielsen.
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Find out more about our education programs at vancouveropera.ca/learn/
BIOS
PETER BARRETT
Dr. Falke
Baritone Peter Barrett has been celebrated for his “commanding” performances with “stage presence to burn” (Opera Canada). His recent engagements included role debuts as Alfio (Cavalleria Rusticana) with Opera West, as Scarpia (Tosca) with Edmonton Opera, Ratefreund in Pacific Opera Victoria’s Braunfels’ Die Vögel, and his return to the Canadian Opera Company for the world premiere of Pomegranate.
GILES TOMKINS
Frank
Canadian/British bass-baritone Giles Tomkins is widely praised for his vocal virtuosity and lyricism in an impressive range of repertoire. His rich, resonant voice brings “authority and power” to the concert and operatic stage. This season, Giles adds the roles of the King in Pacific Opera Victoria’s The Little Prince and Hunding in Die Walküre with Edmonton Opera to his opera repertoire.
HEIDI DUNCAN, YAP
Ida & Adele Understudy
Last season, Heidi made her Vancouver Opera debut as Frasquita in Bizet’s Carmen and covered the roles of Pamina (Die Zauberflöte) and Norina (Don Pasquale). Heidi is a graduate of the University of Toronto Opera School and recent alumni of the Brott Opera Young Artist Program. In Spring 2025, Heidi will return to the mainstage as Kate Pinkerton in VO’s production of Madama Butterfly.
BIOS
MIREILLE LEBEL
Orlofsky
Canadian mezzo-soprano Mireille Lebel sings leading lyric mezzo roles in opera and concert internationally, and is based in Berlin. She has recorded eight opera discs with the Boston Early Music Festival, and enjoys close collaborations with contemporary composers. In 2020, she cofounded the artistic collective Crown the Muse, and was awarded a Canada Council Grant for their inaugural project.
BEATRICE ZEILINGER
Frosch
Beatrice is a Vancouver-based actor who has worked in film, TV, and theatre for over 35 years. She is a multiple nominee and three-time recipient of the Jessie Richardson Theatre Awards. Most recently, audiences may have seen Beatrice in Beautiful: The Carole King Story (Arts Club), and on TV for Alert: Missing Persons Unit. Upcoming: The Mousetrap at the Arts Club Theatre in 2025.
SIMRAN CLAIRE, YAP
Ivania & Orlofsky Understudy
Last seen as Mercédès in Vancouver Opera’s Carmen, mezzo-soprano Simran Claire joins the company as a member of the Yulanda M. Faris Young Artist Program. She has performed with companies including Calgary Opera, Pacific Opera Victoria, and the Glimmerglass Festival. Alongside performance, she creates original work; her “utterly moving” narrative recital film Dadima was featured by CBC Music and Opera Canada.
BIOS
DANLIE RAE ACEBUQUE, YAP
Dr. Falke Understudy
Baritone Danlie Rae Acebuque was the first recipient of the Alexandor Chorney Opera Scholarship at UofT in 2021. In 2022, he was the recipient of the Stuart Hamilton Memorial Award with Voicebox: Opera in Concert, and in 2023 he was one of the Encouragement Award recipients at the Metropolitan Opera Laffont Competition (Oregon District), and Audiences Choice at the MET (Western Canada District).
SHELLEY STEWART HUNT
Choreographer
Choreographic highlights include: Guys & Dolls (Arts Club Theatre Co.); The Sound of Music (ACTC 2019 & 2022); Elf the Musical (Persephone); Pirates of Penzance (TIP); and Mamma Mia! (TUTS). From 2004 to 2021, Shelley was a key faculty member in Capilano University’s Musical Theatre Program. In 2016, Shelley joined the faculty of Studio 58 (Langara College) where she teaches tap and movement.
LISA GOEBEL
Intimacy Director
Select credits: associate movement director and intimacy director for Choir Boy (Arts Club), choreographer and intimacy director for Hamlet (Bard on the Beach), and intimacy director for Yaga (Touchstone Theatre). She completed her Intimacy Certification through Intimacy Directors and Coordinators and is a graduate of Studio 58. Upcoming: movement consultant for Miracle on 34th Street (Arts Club).
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CHRISTMAS WITH TH E BACH CHOI R DEC 1 2024 | 2PM | ORPHEU M
BIOS
TAYTE MITCHELL, YAP
Assistant Director
Hailing from Vulcan, AB, stage director and tenor Tayte Mitchell most recently launched Ammolite Opera as its founding Artistic Director. He is an alumnus of the McPhee Artist Program with Calgary Opera, the Music Academy of the West, and the Wolf Trap Opera Studio. Tayte holds degrees from the Oberlin Conservatory of Music and the Cincinnati College Conservatory of Music.
LESLIE DALA
Associate Conductor / Chorus Director & Conducting October 31
Conductor and pianist, Leslie Dala enjoys a multifaceted career spanning the genres of opera, symphonic music, choral and contemporary works. He recently conducted VO’s productions of Carmen and The Flying Dutchman; Bach’s St. John Passion and Beethoven’s Missa Solemnis with the Vancouver Bach Choir and Mozart’s Coronation Mass at Carnegie Hall. This season with VO, Les will be conducting Dove’s Flight.
TINA CHANG
Assistant Chorus Director / Principal Répétiteur
Described as a “scintillating player,” pianist, and coach, Tina Chang is currently on the music staff at Vancouver Opera. She has been involved with Wexford Festival Opera in Ireland and soundSCAPE New Music Festival in Italy. Locally, she works with Chor Leoni and the Arts Club. She maintains her own private studio and has been on the adjunct faculty of both UBC and Dalhousie University.
The Yulanda M. Faris Young Artists Program provides artists—singers, pianists and stage directors—with the opportunity to train with industry leaders through master classes, one-on-one coaching and performance opportunities as part of a residency program.
vancouveropera.ca/artists-program/ SUPPORTED BY
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MICHELLE HARRISON
Stage Manager
Michelle has worked in stage management with Pacific Opera Victoria and Vancouver Opera on such operas as For a Look or a Touch, Orfeo ed Euridice, The Barber of Seville, The Flying Dutchman, Don Pasquale, and Carmen. Recent theatre credits include Little Shop of Horrors (Arts Club/Citadel), The Sound of Music, and Kinky Boots (Arts Club). She is a graduate of UBC.
EMMA HAMMOND
Assistant Stage Manager
Based on the west coast, Emma has been working in theatre and opera for 10 years. She has worked at a variety of companies including; Vancouver Opera, Pacific Opera, the Firehall, Ruby Slippers, Sticks and Stones, Theatre Under the Stars, Theatre Replacement, and the Cultch. Upcoming for her is stage managing the East Van Panto. Thanks go to Justin for his ongoing love and support.
KATIE SCHMIDT
Assistant Stage Manager
Katie is a graduate of the University of Winnipeg Theatre and Film in the Production Stream with a focus on Stage Management. Her first professional gig was Stage Managing for the Gilbert and Sullivan Society in Winnipeg and she is very excited to jump in on Die Fledermaus! Recent credits include Assistant Stage Managing on Outside Inn (PTE), The Lehman Trilogy, and The Sound of Music (RMTC.)
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Holiday Concert
November 23 – 7:30pm, Old Auditorium
A beautiful bouquet of your favourite opera, operetta and musical theatre songs, bringing us into the winter holidays. Join the party to sing along and tap your toes to the tunes you know and love.
Street Scene
Jan 30, 31, Feb 1 – 7:30pm | Feb 2 – 2pm Chan Centre for the Performing Arts
Kurt Weill’s “American Broadway Opera” is an emotionally charged portrait of life among the multi-ethnic working-class living in a crowded brownstone in New York City.
BIOS
ELSA ORME
Apprentice Stage Manager
Elsa Orme is a Vancouver-based Stage Manager and Designer. Select credits include Morag, You’re A Long Time Deid (Touchstone Theatre), The 39 Steps (The Grove Theatre), Queen of Carthage (re:Naissance Opera), Inheritances (Music On Main), Confluence (Raven Spirit Dance), and Flight of the Hummingbird (Vancouver Opera & Pacific Opera Victoria).
JAMIE SWEENEY
Assistant Lighting Designer
Jamie Sweeney is a Canadian, Vancouver-based theatre collaborator. She is a lighting designer, a production manager, a performer, a deviser, a creator, and an artist. She has a BFA in theatre production and design from Simon Fraser University. Some companies she has worked with include Ballet BC, Bard on the Beach, Vancouver Opera, Arts Club, Rice & Beans Theatre, vAct, and Neworld Theatre
PERRI
LO
Répétiteur
Perri Lo is a pianist and vocal coach working in opera, chamber music, and dance. She has worked with companies across Canada and locally, including Vancouver Opera, Pacific Opera Victoria, City Opera Vancouver, Re:N Opera, and Opera Kelowna. Perri is a pianist for Ballet BC and Arts Umbrella Dance, and recently collaborated with dancers and singers on the Canadian premiere of Floating Island.
BIOS
DEREK STANYER, YAP
Répétiteur
Dr. Stanyer has worked as a pianist/coach with UBC Opera since 2019, and as an Adjunct Professor in 2023. He has recently performed both opera and art song with the Vancouver Fringe Festival, Vancouver Opera, Opera Unbound, COC, York Place Concerts, and many others. His doctoral research (and passion!) relates to the art songs of Nikolai Medtner, which are a largely ignored part of the art song repertoire.
SARAH JANE PELZER
English SurtitlesTM
Sarah Jane Pelzer is a stage director and surtitlist based in Vancouver, BC. She has directed, assisted, and taught across Canada and the US at Vancouver, Edmonton, and Manitoba Opera, Opera on the Avalon, Opera Kelowna, Wolf Trap, and the New England Conservatory. Sarah is the co-founder of Lucky Penny Opera, a company dedicated to exploring alternative models for creating opera performances.
VANCOUVER OPERA GUILD 2024 ESCORTED OPERA TOURS
NEW YORK METROPOLITAN OPERA | March 10 – 17, 2025
• Moby-Dick (Heggie) with Brandon Jovanovich, Stephen Costello & Peter Mattei
• La Bohème (Puccini) with Kristina Mkhitaryan and Joseph Calleja
• Aida (Verdi) with Christina Nilsson and Judit Kutasi
• Fidelio (Beethoven) with Lise Davidsen, David Butt Philip & Tomasz Knieczny
• Laffont Grand Finals Concert
Tour cost of $4,015 includes return airfare, seven nights Empire Hotel plus four opera tickets and one grand finals concert ticket.
U.K. OPERA FESTIVALS | June 11 – 23, 2025
We will stay in Windsor for five nights and enjoy L’Elisir d’Amore (Donizetti) and The Queen of Spades (Tchaikovsky) at Garsington Opera and Mazeppa (Tchaikovsky) at Grange Park Opera. We continue to Brighton for a five night stay and attend Parsifal (Wagner) and The Barber of Seville (Rossini) at Glyndebourne. London overnights are included for the first and last tour nights.
OPERA IN SANTA FE | July 27 – August 3, 2025
Tour includes airfare, accommodation at the Inn of the Governors, five operas, one preopera buffet dinner, backstage tour and day excursion to Taos, its pueblo and Chimayo.
• La Bohème (Puccini): Sylvia D’Eramo, Long Long
• Rigoletto (Verdi): Gerardo Bullon, Elena Villalon, Duke Kim
• Die Walküre (Wagner): Tamara Wilson, Ryan Speedo Green
• The Marriage of Figaro (Mozart): Florian Sempey, Marina Monzo, Ricardo Fassi, Liv Redpath
• The Turn of the Screw (Britten): Jaquelyn Stucker, Brenton Ryan
UP-TO-DATE
THANK YOU TO OUR SPONSORS
SEASON SPONSORS SEASON PATRONS
ALLAN AND GWENDOLINE PYATT FOUNDATION
Yoshiko Karasawa Martha Lou Henley, C.M.
PRODUCTION SPONSOR EXCLUSIVE HOSPITALITY SPONSOR
PERFORMANCE SPONSOR
WITH CONTINUING SUPPORT FROM MEDIA SPONSORS
VO BOARD AND STAFF
VANCOUVER OPERA BOARD OF DIRECTORS
Chair
Krista Johanson
Vice Chair
Stanis Smith
Treasurer Roger Flowerdew
Secretary Andrea Wood
Past Chair
Susan Van der Flier
Human Alghabi
Jennifer Choi
Shaun Dolman
Gagan Grewal
Joshua Hutchinson
Kevin Kelly
Kirk LaPointe
Pierre Lebel
Ivor Luk
Emily MacKinnon
Jennifer Muench
Richard Rees
Chloe Sauder
Isabelle Spothelfer
Carol Tsuyuki
Wilson Williams
Andrea Wood
President, Vancouver Opera Guild
Jennifer Coté
VANCOUVER OPERA FOUNDATION BOARD OF TRUSTEES
Chair
Richard Rees
Treasurer and Secretary
Jim MacCallum
Past Chair
Paul McEwen
Jill Bodkin
Jake Boxer
Neil Carnell
Geoff Dodds
Roger Flowerdew
Yuri Fulmer
Emily MacKinnon
Kevin Mah
Nevada Mohammed
Jennifer Muench
Susan Van der Flier
VANCOUVER OPERA STAFF
General Director
Tom Wright
Music Director
Jacques Lacombe
Music Director Emeritus
Jonathan Darlington
Director of Marketing
Jonathan Harrison
Director of Development
Kayleigh Harrison (On Leave)
Director of Artistic & Production
Nicole Lamb
Director of Finance and Administration
William Murgatroyd
Director of Engagement and Civic Practice
Ashley Daniel Foot
ARTISTIC PLANNING
Company Manager
Kewen Huang
Head of Music
Leslie Dala
Coach/Répétiteur
Tina Chang
Preparatory Librarian
Connie Goetz
PRODUCTION
Technical Director
Jon Mottram
Production Assistant
Jimena Pacheco
Head of Properties
Stephen Field Elgar
Head of Wardrobe
Roberta Doylend
DEVELOPMENT
Interim Director of Development
Bella Best
Senior Manager, Grants & Sponsorships
Kseniia Gorlevaia
Senior Manager, Individual Giving
Rebecca Paterson
Administration Assistant
Rilee German-Martinez
FINANCE AND ADMINISTRATION
Accounting and Payroll Manager
Sonny Sohn
Office Services Manager
Jennifer Pipe
Facilities Manager
Mack McGillivray
MARKETING
Creative Director
Annie Mack
Senior Marketing Manager
Keltie Laidlaw
Database and Ticket Centre Manager
Tracey Flattes
Ticket Centre Associate
Charlene Hibbard
Social Media Specialist
Lucas Bertoli
Senior Communications Advisor
Stephen Lyons
Publicist
Cynnamon Schreinert
Program Ad Sales
Jennifer Lee
Graphic Designer
Yvonne Olivotto
ENGAGEMENT AND CIVIC PRACTICE
Senior Teaching Artist
Eve-Lyn de la Haye
Teaching Artists
Tabitha Brasso Ernst
Nicholas Burns
Holly Collis Handford
Kris Epps
Researcher and Writer
Jane Potter
Audio Producer
Mack McGillivray
Coordination
Vincent Huynh
YULANDA M. FARIS
YOUNG ARTISTS PROGRAM
Program Director
Leslie Dala Coach
Tina Chang
Heidi Duncan, Soprano
Simran Claire, Mezzo-Soprano
Lyndon Ladeur, Tenor
Danlie Rae Acebuque, Baritone
Derek Stanyer, Pianist
Tayte Mitchell, Stage Director
THANK YOU TO OUR SUPPORTERS
LEADERSHIP CIRCLE $50,000+
Martha Lou Henley, C.M.*
Yoshiko Karasawa
Michael And Inna O’Brian
Alan & Gwendoline Pyatt
Dr. Ian & Mrs. Jane Strang
DIRECTOR’S CIRCLE $20,000+
Patricia Charles
Signe Jurcic
Dr. George Luciuk & Dr. Lidia Schuster
INNER CIRCLE $10,000+
Jill Bodkin
Ms. Regina Boxer
Mohammed A. Faris & Family
Mike & Kathy Gallagher
Brigitte & Henning Freybe
Diana and Tom Herbst
Horatio Kemeny & Cadence Jensen
Mrs. Ellen Mahon
Mrs. Irene McEwen
Mrs. Lorna Mochinski
Richard & Elise Rees
Dr. Linda Siegel
Gillian Smith, in memory of Russell Smith
Pascal & Isabelle Spothelfer
PATRON $1,500+
Anonymous (2)
Mr. Hans Alwart
Sarah Armstrong
Ms. Winnie Avery
Ms. Wendy G. Baker
Shirley Barnett
Val & Dick Bradshaw
John & Ruth Brock
Jamie & Cindy Bruce
Mr. Michael & Mrs. Eunice Chan
Ms. Gillian E. Chetty
Mr. Edward & Mrs. Dorothy Chiasson
Dr. Heather F. Clarke
Ms. Joan Cosar
Lorna Court & John Mancini
William and Emmanuelle Davis
Ms. Elisabeth Dawson
Susan Drury & Dennis Perry
Mr. Harry Edinger
Ms. Vivian Eliopoulos
Mark Emanuel, P. Eng.
Mr. & Mrs. Allen Fowlis
Mrs. Pamela Friedrich
Ms. Judy Garner
Arlene Gladstone & Hamish Cameron
Mrs. Elaine Godwin
Ms. Isabel Gordon
Roland and Catherine Haebler
Penelope B.M. Hedges
Jens & Linda Lee Henriksen
Ms. Nancy Hermiston
Dr. Lionel & Mrs. Beryl Herscovitch
John Horning and Lorraine Larkin
Dr. Martin Hosking
Mr. Joshua Hutchinson
Ms. Krista Johanson
Mr. Jeffrey G. Jung
Ms. Lynn Kagan
Mr. Sharman King
Mike & Jean Kovich
Jacques Lacombe
Mr. & Mrs. R. Michael LePage
Pierre & Betty Lebel
Bill & Risa Levine
Mr. & Mrs. Hugh Lindsay*
Mr. & Mrs. Harold & Jenny Locke
Mr. Harvey Loen & Mrs. Lois Binder
Doris Luking in memory of, Hans Luking
Huiyuan Ma
Jane Macdonald
Marlene Mackenzie
Jana and Bill Maclagan
Genny MacLean
Ms. Elaine Mah
Mr. Kevin Mah
Miriam Maisonville and David Sauder
Marilyn & Hart Mauritz
Mr. & Mrs. David McDonald
Paul McEwen and Gwynneth Jones
Mr. & Mrs. Robert & Mary McIlwaine
Ms. Ann McKinnon
Mr. Ian Michaud
Mr. Robert Milne
Dr. Paul Mitchell-Banks
Catherine Morgan and Michael Jonker
Dr. Peter & Mrs. Eve Munns
Mr. & Mrs. D. Murray
Dr. & Mrs. David R. Neima
Bryan and Susan Nethery
Micki & Michael Partridge*
Ms. Lorraine Portier
Mollie Massie & Hein Poulus
Robert E. Radke
David Radler
Chloe Sauder
Dr. Wes Schreiber
Bob Sewell and Susan Van der Flier
Dr. Cecil Sigal
Peter Singer and Heather Gilley
Mathew and Masumi Smith
Mr. Stanis Smith
Mr. Ross & Ms. Ursula Southam
Dr. Paul & Mrs. Dorothy Stanwood
Andrew & Yasmeen Strang
Mary Tait & Bill Sirett
Ms. Anona Thorne and Mr. Takao Tanabe
Gina Thorstenson & Bob Bartholomew
Dr. Sandra Vestvik
Ms. Alexandra Volkoff
Mrs. Carolyn Webster
James & Veronica Weinkam
Mr. Paul Westwick
Andrea Wood & Peter Cavanagh
Mr. Daniel R. Worsley
Tom and Denise Wright
Dr. Edwin & Mrs. Patricia Yen
PUBLIC FUNDERS
BC Arts Council
Canada Council for the Arts
City of Surrey
City of Vancouver
Department of Canadian Heritage
Metro Vancouver
Ministry of Tourism, Arts and Culture
Vancouver Civic Theatres
CORPORATE SUPPORTERS
Amica Senior Lifestyles
Anthem Properties Group
Blake, Cassels & Graydon LLP
Borden Ladner Gervais LLP
BMO Financial Group
CIBC Wood Gundy
Deloitte
Dilawri Group of Companies
Edge Catering
Fasken Martineau DuMoulin LLP
IG Wealth Management
Imperial Metals
Mission Hill Family Estate
Scotia Wealth Management
STORMTECH Performance Apparel
TD Bank
Telus Friendly Future Foundation
Osler, Hoskin & Harcourt LLP
Vancouver International Airport
Vancouver Opera Guild
FOUNDATIONS
Alan and Gwendoline Pyatt Foundation
Andrew Mahon Foundation
Ann Claire Angus Fund, held at Vancouver Foundation
The Arthur Toft Foundation
Chris Spencer Foundation
The David Spencer Endowment
Encouragement Fund
Dennis & Phyllis Washington Foundation
Diamond Foundation
Frank and Joan Lew Charitable Trust
George W. Norgan Fund, held at Vancouver Foundation
Gift Funds Canada
The Hannah Woodnutt Smith Memorial Fund, held at Vancouver Foundation
Joan C McCarter Foundation, held at Victoria Foundation
Lagniappe Foundation
Lightburn Family Fund, held at Vancouver Foundation
Martha Lou Henley Charitable Foundation
McGrane-Pearson Endowment Fund, held at the Vancouver Foundation
Mirhady Family Fund, held at Vancouver Foundation
RBC Foundation
Remembering Otto and Marie Pick
Charitable Foundation
Vancouver Opera Association Endowment Fund
Vancouver Foundation
Vancouver Opera Foundation
LEGACY GIFTS
Estate of Lois M. Bewley
Estate of Geraldine Rita Nicolodi
Estate of Mervyn Clarice Lindsay Weir
PATRON INFORMATION
PREVIEW TALKS
Learn more about the Vancouver Opera production you’re about to see at our complimentary Preview Talks. A great added value to your VO ticket, and an opportunity to gain insight into the performance, Preview Talks are offered an hour before every performance. Led by an expert, topics range from the composer’s life and repertoire, to historical context about the work, to more details about the artists involved with the production. Each talk lasts approximately 25 minutes.
ACCESSIBILITY
Elevators in the Queen Elizabeth Theatre parkade provide patron access to street level and the main entrances of the Queen Elizabeth Theatre and the Vancouver Playhouse. There also is a driveway for taxis and pick-up/drop-off for patrons with physical needs. Seating for patrons using wheelchairs is available on the orchestra and mezzanine levels of the Queen Elizabeth Theatre, and on the orchestra level of the Vancouver Playhouse. Elevator access is available from each of the theatre’s main lobby to the upper levels. For more information, please call the VO Ticket Centre. Patrons who are hard-of-hearing may borrow Sennheiser Infrared Hearing System headsets for any performance, free of charge. Headsets are available at the theatre coat check. This system was made possible through the generous donation of Wolverton Securities Limited and the Vancouver Foundation.
LATECOMERS
To avoid disrupting the performance, latecomers may not be seated once the show has started. If possible, they will be ushered to their seats at the first appropriate break.
PERFORMANCE ETIQUETTE
In consideration of other patrons and the performers, please refrain from rustling programs, unwrapping candy or whispering during the performance. Given some people’s allergies, we also ask patrons to avoid wearing perfume or other scented products. Patrons are requested to speak to a Vancouver Opera or Civic Theatres representative at intermission in the case of any disturbance or discomfort during a performance. Please silence all electronic devices when entering the theatre, so as not to disrupt the performance.
RECORDINGS AND PHOTOGRAPHS
Any recording (video, audio) or photographs of VO performances are strictly prohibited without the permission of Vancouver Opera. We welcome you to take photos of the curtain call and share using the hashtag #diefledermaus
TICKET SERVICES
Visit, write or call: VO Ticket Centre, 1945 McLean Drive, Vancouver T: 604 683 0222
E: tickets@vancouveropera.ca vancouveropera.ca/tickets Hours of operation: Monday—Friday, 9AM—5PM
Exchanges and Lost Tickets
Please contact the Ticket Centre directly with any questions about exchanging and/or replacing tickets.
PRIVACY
Vancouver Opera is committed to protecting your privacy. For information on VO’s patron privacy policy, please visit our website: vancouveropera.ca.
