Francis Poulenc
La Voix HumaIne Digital Premiere
Oct. 24, 2020 | 7:30pm
2020–2021 DIGITAL SEASON
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Francis Poulenc
La Voix HumaIne Tom Wright, General Director Jonathan Darlington, Music Director Emeritus
VO Administration and Ticket Centre The Michael and Inna O’Brian Centre for Vancouver Opera 1945 McLean Drive Vancouver, BC, V5N 3J7 Administration T: 604 682 2871 F: 604 682 3981 VO Ticket Centre Sponsored by Mission Hill Family Estate T: 604 683 0222 tickets@vancouveropera.ca www.vancouveropera.ca
CONTENTS 6 Cast & Creative Team 7
Production Team
8 Synopsis 9
19
Behind the Scenes
21
Patron Information
22
VO Board & Staff
Notes from the Creative Team
10 Biographies 15
Opera in Context
16
Opera Allsorts
Vancouver Opera acknowledges that we work and perform on the unceded and traditional territory of the Musqueam, Squamish, and Tsleil-Waututh First Nations.
Publication Manager Vincent Wong Design & Layout Annie Mack
Vancouver Opera is a professional company. It operates under the jurisdiction of Canadian Actors’ Equity Association, Vancouver Musicians’ Association, and IATSE, and is a member of OPERA America and Opera.ca
2020–2021
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REIMAGINED FOR THE SCREEN
Cover Artwork by Emily Cooper.
DIGITAL SEASON LA VOIX HUMAINE | AMAHL AND THE NIGHT VISITORS THE MUSIC SHOP | LA TRAGÉDIE DE CARMEN
WELCOME |
GENERAL DIRECTOR
Thank you for joining us for our first production of our digital season, Francis Poulenc’s La Voix humaine. Poulenc wrote this monodrama in 1958 after the great success of his second opera, Dialogues des Carmélites. In looking for a story, his publisher suggested he adapt the play of the same name by Jean Cocteau and compose it for soprano Maria Callas. However, Poulenc had just worked with French soprano Denise Duval who starred in his Dialogues and knew of her “stormy love life”. He wrote the opera specifically for her and in fact he referred to her as the co-composer. We are thrilled to have Vancouver native Mireille Lebel perform the troubled character “Elle” in her debut of this demanding tour de force role. Stage Director Rachel Peake returns to Vancouver Opera; Mireille and Rachel last worked together in our 2016 production of The Marriage of Figaro. Providing music direction and piano accompaniment is the talented Kinza Tyrrell. As we are all feeling the impact of living through a pandemic, I’m reminded of just how important the arts are to our culture and society. The arts bring people together and build connections. We hope our digital season can be a place to share the power of music, theatre and the human voice. Please get your drinks, snacks, and tissues, sit back in your favourite position on your couch or comfy chair and enjoy.
Tom Wright General Director, Vancouver Opera
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WELCOME |
BOARD CHAIR
Welcome to Vancouver Opera’s first digital season. I know that many of us are looking forward to attending live opera performances, but in these extraordinary times this season will be a little different than usual. We are grateful that you have joined us to experience a new digital season that is focused on showcasing local talent and our young artists. I hope the program will excite and delight you, and that you enjoy watching and re-watching all season long. These are challenging times for everyone in the performing arts. At Vancouver Opera, we are blessed with an extraordinary cadre of supporters who are committed to ensuring we emerge as strong as ever from the pandemic so we can return to offering live performances. Enjoy the performance and thank you for your support.
Richard Rees Chair, Vancouver Opera Board of Directors
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La Voix HumaIne Monodrama | By Francis Poulenc | Libretto by Jean Cocteau, original work
Music Director / Pianist
Kinza Tyrrell
Director
Rachel Peake
CAST Woman (Elle)
Mireille Lebel
Set & Costume Designer Amir Ofek
Hair and Makeup Nina Farrauto
Lighting Designer Jeremy Baxter
Wardrobe Team Lead Caitlin Fysh
Scenic Lead Andrea Joy Rideout
Stage Manager Theresa Tsang
Head Scenic Painter Omanie Elias
English Translations Rachel Peake
Head of Costumes Parvin Mirhady
First performed at Paris, Opéra Comique, February 6, 1959. Vancouver Opera premiere October 24, 2020 at 7:30pm. The performance will last approximately 45 minutes. In French with English subtitles.
DIGITAL SEASON SPONSOR
DIGITAL SEASON PRODUCTION PATRONS
Ms. Martha Lou Henley, C.M. Alan & Gwendoline Pyatt Foundation Yoshiko Karasawa
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LA VOIX HUMAINE PRODUCTION PATRONS
Mr. Ross & Ms. Ursula Southam LA VOIX HUMAINE PREMIIERE PATRONS
Brigitte & Henning Freybe
LA VOIX HUMAINE RECORDING PRODUCTION TEAM
Producing Partner Bob Baker Audio Producer Denise Ball
CHAN CENTRE STAFF T. Patrick CarrabrĂŠ Director Carl Armstrong Events and Customer Service Manager Wendy Atkinson Rentals and Programming Manager
Audio Engineer James Perrella
Lloyd Balser Head Audio Technician
Collide Entertainment Camera Operators Mike Southworth Adam PW Smith Aaron Nathanson
Kara Gibbs Marketing and Communications Manager
Editor Mike Southworth
Janice Lew Rentals & Programming Assistant
Assistant Editor Aaron Graham
Trevor Mangion Ticket Operations Manager
COVID Safety Officer Marijka Asbeek Brusse
La Voix Humaine Francis Jean Marcel Poulenc, Jean Clement Eugene Cocteau Universal Music Publishing Canada on behalf of Ricordi Ed. S.A.
Simone Doust Development Officer, Faculty of Arts
David Humphrey Production Manager Rebecca Isaac Production Clerk Flora Lew Finance Manager Glenda Makela Financial and Programming Clerk Chloe Martin-Cabanne Operations Clerk Veronica Maynard Administration and Finance Clerk Caitlin Mckee Presenting Manager Claire Mohun Associate Marketing and PR Manager Kirsty Munro Associate Presenting Manager James Perrella Assistant Head Audio/Stage Technician Liz Kraft, Assistant Head Stage Technician Andrew Riter Assistant Technical
THANK YOUS Canadian Actors’ Equity Vancouver Musicians Association Union of British Columbia Performers UBCP/ACTRA
Director / Head Lighting Technician Nadia Roberts Events and Front of House Coordinator Lyndsey Roberts Ticket Office Supervisor
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SYNOPSIS
A woman, Elle, lies in her apartment. At first we do not know if she is alive or dead. She rises and is about to leave when the phone interrupts her. There is confusion on the line with wrong numbers and crossed wires. Finally the third call gets through—it is her ex-lover. She tells him that she was out with her friend Marthe the night before, after which she took a pill to help her sleep upon her return home. The couple discusses their past relationship and she blames herself for their problems, telling him “Everything is my fault” (Tout est ma faute). As the conversation continues there are numerous telephone problems and the connection terminates. She calls her former lover back but learns he is not at home, he has been out all evening. He calls back and she hides the fact she knows he is not calling from home. She admits to having lied about going out with Marthe and tells him that the truth is she attempted to die from suicide by taking sleeping pills. After taking the pills she called Marthe, who came with a doctor to save her. Suddenly, Elle hears background music and suspects that her ex-lover is at his new girlfriend’s home. She hints at this suspicion but it is never confirmed. She reveals that she is obsessed with the telephone and has slept with it in bed the past two nights. Again, the connection is terminated and she panics. Her ex-lover calls back again and she tells him that she has the telephone cord wrapped around her neck. She tells him to hang up while she professes her love over and over again until at last the connection is cut for the last time.
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NOTES FROM THE CREATIVE TEAM
KINZA TYRRELL, Music Director La Voix humaine is Francis Poulenc’s third and final opera. All were written in the latter part of his career as he wanted to be at full maturity when he tackled them. Admitting to having had a taste for ‘adorable bad music’ when growing up, he was also greatly influenced by Bach, Mozart, Schubert and Chabrier. Poulenc believed in composing music that was ‘healthy, clear and robust’—his melodies are simple, pleasing, memorable and emotionally expressive. His earlier music was thought to be high spirited and irreverent—his later music, more serious. His contemporaries thought the man to be a true mix of the two, ‘half naughty boy/half monk’. For many years, Poulenc had a reputation as a frivolous, lightweight composer; only recently have people given more attention to his serious works, of which La Voix humaine is one. Looking into his personal life, one can imagine that he must have related to the deep depression of Elle, the sole character in this work. He had his friend, colleague, and performing partner, soprano Denise Duval, in mind as he composed, and worked closely with her and the playwright Jean Cocteau (who designed the scenery and costumes and also directed) on preparing the premiere. This one act tragédie lyrique contains very sudden and extreme musical shifts—reflecting Elle’s fragile state of mind—from anxiety to calm and vice-versa. There are many a cappella (voice alone) moments encouraging the voice to be free, wild and spontaneous. When the accompaniment joins in, Poulenc dictates it to be ‘bathed in the greatest orchestral sensuality’. This opera is saturated with short musical motifs revealing Elle’s tension, feigned casualness, lamenting, false calmness, fear, pleasant memories, and frustration at the intermittent connection with her ex-lover during their 40-minute telephone conversation. Dr. Kinza Tyrrell is Vancouver Opera’s Principal Répétiteur and Music Director for Vancouver Opera In Schools.
LISTEN TO THE MUSIC
WATCH INTERVIEW
RACHEL PEAKE, Director In this interview Rachel tells us what she loves most about the opera, including the 1950s period, its relevance to living through a pandemic, and the exciting possibilities of filming the work for a digital season.
WATCH INTERVIEW
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BIOGRAPHIES
KINZA TYRRELL | MUSIC DIRECTOR/PIANIST Kinza is the Principal Répétiteur and Music Director of Vancouver Opera In Schools at Vancouver Opera. She has also been on the music faculty at the Canadian Opera Company, has worked as Conductor, Assistant Conductor and Senior Répétiteur at Opera Nuova in Edmonton and the Opera As Theatre Program at the Banff Centre, and has held conducting and teaching positions at the University of Victoria, Vancouver Summer Opera Studio, Center for Opera Studies (COSI) in Sulmona Italy, Opera Kelowna, the Vancouver International Song Institute (VISI) and the Charlie Creek Vocal Workshop in Wabash, Indiana. A much sought after vocal coach, accompanist and répétiteur, Kinza has shared recital stages with many renowned singers, including Richard Margison, Erin Wall, Benjamin Butterfield, Daniel Taylor, and Measha Brueggergosman. Kinza received her Doctorate in piano and vocal coaching from McGill University under the tutelage of Michael McMahon, and studied at the Hochschule für Musik und darstellende Kunst in Graz, the International Mozarteum Summer Academy in Salzburg, the Tanglewood Music Festival and the Merola Opera Program.
RACHEL PEAKE | DIRECTOR Originally from Saskatchewan, Rachel is a freelance director and dramaturge of theatre and opera. From 2017 to 2020 she led the Citadel's New Play Development initiatives as Associate Artistic Director of the Citadel Theatre. In June 2017 she won the Jessie Richardson Award for Outstanding Direction for her work on Green Lake, produced by Solo Collective Theatre, which also received a Jessie nomination for Outstanding Production. Rachel recently directed The Garneau Block for the Citadel Theatre and The Marriage of Figaro for Edmonton Opera. Rachel directed and dramaturged Hyperlink for The Elbow, which was nominated for Critic's Choice in Innovation at the 2018 Jessie Awards. Recent directorial credits also include La Cenerentola and The Marriage of Figaro for Vancouver Opera, A Christmas Carol for Gateway Theatre, and Angels in America: Part One for Studio 58. achel interned at the Komische Oper in Berlin, at Stratford's R Michael Langham Workshop for Classical Direction, at the Shaw Festival's Neil Munro Directing Internship. Rachel is a graduate of the University of Alberta and Studio 58.
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MIREILLE LEBEL | WOMAN/ELLE Berlin based, Canadian mezzo−soprano Mireille Lebel grew up in Vancouver and studied music at the University of Toronto and the University of Montreal. She was awarded major grants by the Canada Council and the Jacqueline Desmarais Foundation and furthered her artistic training as a member of the Atelier Lyrique de l’Opéra de Montréal. She is now making critically successful debuts with opera companies and orchestras in Europe and North America. The 2019/2020 season saw Mireille make role debuts as Nicklausse in Les contes d'Hoffmann in Dessau, and in the title role of Vivaldi's Arsilda at the Rudolfinum in Prague with Vaclav Luks and Collegium 1704. She made her Italian debut in the Paul-Émile Fourny production of Carmen. This season sees the release of the disc Vienna 1905-1910 with the Richter Ensemble on Passacaille where she sings Schoenberg's 2nd String Quartet. She can also be heard in recital with Early Music Vancouver and the Société d'art Vocal in Montreal. Next season's projects include a return to the role of Nerone in an unusual new production of L’incoronazione di Poppea at Columbus Opera directed and conceived by Artistic Director Peggy Kriha-Dye, as well as Idamante in Idomeneo at Opera-Theatre de Metz. VO audiences last saw Mireille shine in the role of Siébel in the 2019 VOF production of Faust.
AMIR OFEK | SET & COSTUME DESIGNER Amir was born and raised in Israel. He graduated from Central Saint Martins College of Art & Design (BAhons Theatre Design) and Brandeis University (MFA Theatre Arts). He designed for productions in London, Tel-Aviv, Boston, Waltham (MA) and Durham (NC) where he worked as the resident set and costume designer and guest lecturer in theatre design for Duke University Department of Theatre Studies. Since immigrating to Vancouver, Amir has been designing productions for the Arts Club Theatre Company, Bard on the Beach, Chemainus Theatre Festival, Western Canada Theatre, The Search Party and other local independent theatre companies. Amir recently taught an advanced set design class for UBC department of Theatre and Film. Amir garnered seven Jessie Richardson Theatre Awards nominations and awards for Outstanding Set Design for the Arts Club Theatre Company production of Boeing Boeing (2013), and Outstanding Set Design for The Search Party production of The Father (2019).
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BIOGRAPHIES
THERESA TSANG | STAGE MANAGER In her over 20 seasons with Vancouver Opera’s Stage Management Department, Theresa Tsang has helped to bring over 80 productions to the stage including Lillian Alling, Evita, Madama Butterfly, L’Elisir d’amore, and Faust. Beyond VO, Theresa has also stage managed for such companies as Pacific Opera Victoria, Banff Centre, UBC’s Opera Department, Wexford Festival Opera in Ireland, and Garsington Opera in the UK on such productions as The Tempest, Kopernikus, Louis Riel, The Skating Rink (World Premiere), Dinner at Eight (European Premiere), and The Turn of the Screw. Theresa has also contributed to many critically acclaimed shows including the double Irish Times Theatre Award winning production of Kevin Puts’s Silent Night, and the International Opera Award winning production of Guglielmo Ratcliff, both for Wexford Festival Opera in Ireland. She has also received recognition from the Stage Management Association in London, England for her work with WFO. Theresa is a graduate of UBC’s Technical Theatre and Design Programme.
JEREMY BAXTER | LIGHTING DESIGNER Jeremy has worked in Vancouver’s arts community for the past 25 years—mostly as a technical director and lighting designer. He is currently the Technical Director for: Théâtre La Seizième, PuSh International Performing Arts Festival, Vancouver International Children’s Festival, Vancouver Folk Music Festival, and Vancouver International Dance Festival. He has designed lights for numerous theatre and dance productions (most recently with Théâtre La Seizième, EDAM Dance and Circadia Indigena) and has been the Lighting Designer for the UBC Opera Ensemble for 25 seasons (more than 70 opera productions at the Chan Centre Concert Hall, the Old Auditorium and other venues around BC). Jeremy is also a cofounder and artistic staff member of Some Assembly Arts Society which focuses on producing original theatre productions written and performed by youth.
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PARVIN MIRHADY | HEAD OF COSTUMES Parvin has been Head of Costumes with Vancouver Opera since 2002. In addition to her work as Head of Costumes she has been the Costume Designer and Costume Design Consultant on several of Vancouver Opera’s productions including Costume Design for the critically acclaimed Nixon in China, The Barber of Seville and Dark Sisters. Parvin has worked with UBC Opera Ensemble as Costume Designer on many productions including Pasazerka (The Passenger) and Silent Night. In addition to her work in opera and theatre Parvin has worked extensively in the film industry. She is a successful businessperson having made and designed her own line of clothing.
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VANCOUVER OPERA OFFSTAGE Join host Les Dala every second Wednesday for this audio podcast as he chats with opera experts, artists and others to explore the world of opera on and off the stage.
Don’t miss Les’s interview with La Voix humaine's Mireille Lebel, available from Wednesday, October 21.
Subscribe to #VOffstage on your favourite podcast apps! Mireille Lebel. Photo by Pierre-Etienne Bergeron.
OFFSTAGE
OPERA IN CONTEXT |
COLLEEN MAYBIN
OPERA AS A CATHARTIC EXPERIENCE When we have a strong emotional response to an opera, we often leave the theatre feeling rejuvenated and emotionally refreshed because the emotions portrayed on stage resonate truthfully. When Francis Poulenc was working with soprano Denise Duval on the score and libretto for La Voix humaine, they were both in the grips of an emotional crisis. They drew on their personal experiences to create what Poulenc described as a "musical confession." The results deeply moved the playwright Jean Cocteau. After sitting in on a rehearsal, he wrote the composer stating, "You have worked out, once and for all, how to speak what I have written." This artistic authenticity positions Francois Poulenc's La Voix humaine as perhaps the perfect opera for audiences in 2020. The operatic monologue takes place in a series of final phone calls between Elle and her ex-lover. The audience only hears her side of the conversation as she tries to reconnect with him. The opera, and Cocteau's play, were written at a time when telephones had become more common. It was now possible to speak directly to someone on the phone. However, the shared intimacy of communicating directly with another person had become mediated through technology that was fraught with complications. Elle finds herself trapped in her apartment. She must stay close to the telephone, so she doesn't miss his call. Wrong numbers, crossed party lines, and his failure to answer the phone add to her mental decline. She finds herself increasingly cut off from him, both literally and figuratively. Like Elle, we have spent much of 2020 isolated in our homes, reliant on technology to communicate with those we love. The worldwide outbreak of COVID-19 has required society to shut down many of the avenues for in-person communication that are vitally important to our health and well-being. Government agencies and mental health organizations have reported a stark increase in the number of Canadians who report feeling anxious, fearful, and isolated. In La Voix humaine, Poulenc poured his emotional life into music that describes the nature of depression. Director Rachel Peake has used the digital platform to create a uniquely intimate version of the work. For audiences, this production is an opportunity to deeply feel the pandemic's impact and find solace in letting those emotions go.
Colleen Maybin is the Director of Learning and Engagement at Vancouver Opera.
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Opera Allsorts
LA VOIX HUMAINE
A mix of tidbits and tales about Poulenc's emotional monodrama
ONE ACT WITH DROPPED CALLS The opera La Voix humaine was originally based on a single act play by Jean Cocteau, completed in 1928 and originally premiered in 1930. Cocteau’s intent was to create a drama refined to the most basic elements. The play lacks the act breaks that typically create story structure. Instead, the structure is only punctuated by the intermittent dropped connections in the sole character’s phone call.
A CALLAS CONNECTION Composer Francis Poulenc adapted Cocteau’s play into an opera in 1958 after the success of his second opera Dialogues des Carmélites (1957). Legendary soprano Maria Callas was initially suggested to him for the role of Elle, but Poulenc had another singer in mind.
FRANCIS POULENC AND JEAN COCTEAU
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POULENC'S MUSE Poulenc felt a deep affinity with the character’s tumultuous story as he struggled with his own addiction to antidepressants, tranquilizers, and sleeping pills. Having worked with soprano Denise Duval on his previous opera, Poulenc was aware of Duval’s troubled love life and was determined to have her originate the role of Elle in La Voix humaine.
DENISE DUVAL AS ELLE IN LA VOIX HUMAINE, AT TEATRO COLÓN, 1960
THREE'S COMPANY Poulenc, Duval, and Cocteau worked together on the premiere of the opera. Poulenc composed the part of Elle specifically for Duval and considered her a co-composer of the role. Cocteau took on the roles of director and designer of costumes and stage décor. He customized the costumes and lighting specifically to suit Duval.
DENISE DUVAL AND FRANCIS POULENC IN PARIS
JEAN COCTEAU, 1928
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BEHIND THE SCENES |
AUTUMN COPPAWAY
RECORDING STAGE Elle is in desperation for her lost love, a current allegory to our industry in this pandemic. We miss our audience; our crews and their creative collaborations. We are mourning our lost love, our audience is an integral part of our art. As production personnel are artists in their own mediums, we respond to the environment as creatively as possible, within our limitations.
La Voix humaine set at the Chan Centre
I am every proud of my team who rose to meet the new challenges in our creative collaborations. The curtain deadline remains, schedule subject to change for post-production. These new challenges may positively transform our world, perhaps change crisis into opportunity, with our new artistic relationships and community partners. The recording process adds a layer of production, but also a new perspective and way to see the story. Autumn Coppaway is Technical Director at Vancouver Opera.
Mireille Lebel transforms into Elle
Rehearsal at the O'Brian Centre for Vancouver Opera
Director Rachel Peake, Mezzo-soprano Mireille Lebel, & Music Director Kinza Tyrrell
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PATRON INFORMATION
PRE-SHOW TALKS Learn more about the Vancouver Opera production you’re about to see with our Pre-Show Talk videos! 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. WATCH THE PRE-SHOW TALK
TICKET SERVICES Our in-person ticket centre is temporarily closed. Digital Season subscriptions can be purchased online only at digital.vancouveropera.ca To use your credit on account or value on a gift certificate, please call the VO Ticket Centre at 604 683 0222, Monday–Wednesday, 9am–12pm.
YOUR SUBSCRIPTION The 2020–2021 Digital Season subscription includes unlimited on-demand access to all four performances for you and your household to enjoy. Each opera will be available on-demand from its designated Digital Premiere date until the end of the season, June 2021.
HOW TO WATCH The performance videos will be available only with a digital subscription at digital.vancouveropera.ca. To access these videos, log in to the Digital Season website with your email and password. Content cannot be downloaded. VIEW OUR "HOW TO WATCH" VIDEO
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AUDIENCE ADVISORY Viewers are advised that La Voix humaine includes references to self-harm and suicide. Help is available. Speak with a counsellor today or learn more at crisisservicescanada.ca
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ADMINISTRATION DISTINGUISHED HONORARY PATRON Martha Lou Henley, C.M.
VANCOUVER OPERA BOARD OF DIRECTORS 2020–2021 SEASON Chair: Richard Rees Vice Chair: Meera Bawa Mass Abedi Alexander Bjornson Catherine Dangerfield
Treasurer: Roger Flowerdew Secretary: Susan Van der Flier Judy Halbert Kirk LaPointe Maria Leone
Jennifer Muench Jan Sampson Carol Tsuyuki
Past Chair: Bill Maclagan Alexi White Andrea Wood Nancy Wu
VANCOUVER OPERA STAFF Tom Wright, General Director Director of Artistic Planning Adrianne Wurz
Chief Development Officer Lisa Westermark
Jonathan Darlington, Music Director Emeritus Director of Marketing Sarah Hitner
Director of Learning and Engagement Colleen Maybin
Director of Finance and Administration Doug Querns
ARTISTIC PLANNING Artistic Associate: Leslie Dala Artistic Administration: Theresa Tsang
DEVELOPMENT Director, Donor Development: Carmen Murphy Manager, Strategic Partnerships: Erin Reddekopp
Music Associate Conductor / Chorus Director: Leslie Dala Principal Répétiteur / Assistant Conductor / Assistant Chorus Director: Kinza Tyrrell Répétiteur: Tina Chang Orchestra Manager: Jim Littleford Music Librarian: Tom Shorthouse Orchestra Stage Manager: Jim Tranquilla
MARKETING Creative Director: Annie Mack Marketing and Sales Manager: Vincent Wong Ticket Centre Associate: Charlene Hibbard Ticket Centre Associate: Kathryn Dobbs Publicist: Cynnamon Schreinert
Production Technical Director: Autumn Coppaway Scenic Team Lead: Andrea Joy Rideout Wardrobe Team Lead: Caitlin Fysh Head of Costumes: Parvin Mirhady
FINANCE AND ADMINISTRATION Chief Financial Officer (On Leave): Catriona Cheng Director of Information Technology: Hali Autio Accountant & Payroll Administrator: William Murgatroyd Building Manager: Kevin MacLeod Office Services Administrator: Keltie Laidlaw
YULANDA M. FARIS YOUNG ARTISTS PROGRAM Program Head: Leslie Dala Jonelle Sills Amanda Weatherall
Head Coach: Kinza Tyrrell
Coach: Tina Chang
Ian Cleary Luka Kawabata
Amy Seulky Lee Dana Fradkin
VANCOUVER OPERA FOUNDATION BOARD OF TRUSTEES 2020–2021 SEASON Chair: Paul McEwen Jill Bodkin Jake Boxer Neil Carnell
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Treasurer and Secretary: Jim MacCallum Catherine Dangerfield Yuri Fulmer Michael Gallagher
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Emily MacKinnon Bill Maclagan Jennifer Muench
Terry Pask Richard Rees Russell Smith
COMING NEXT
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2020–2021 DIGITAL SEASON
REIMAGINED FOR THE SCREEN
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VO’s 2020—2021 digital season artwork is by Vancouver artist and photographer, Emily Cooper.
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LA VOIX HUMAINE PRODUCTION PATRONS
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