Christoph Willibald Gluck
ORFEO ED EURIDICE Dec 4 + 5 In partnership with Ne. Sans Opera & Dance
2021–2022 SEASON Tom Wright, General Director
ORFEO ED EURIDICE
Jonathan Darlington, Music Director Emeritus
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COVER: NE. SANS OPERA & DANCE, ORFEO ED EURIDICE, DANCER TED LITTLEMORE, PHOTO FLICK HARRISON. DETAIL FROM VO’S ORFEO ED EURIDICE SEASON ARTWORK BY CIELE BEAU.
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Cast & Creative Team
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Synopsis
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Notes from the Conductor
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Notes from the Director
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Biographies
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Orchestra
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Chorus & Production
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Behind the Scenes
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Women in Musical Leadership
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VO Board & Staff
WELCOME
Supporting the arts, locally.
After an extended intermission, we are delighted to raise the curtain on a new season. It is with gratitude and overwhelming joy that we welcome you back to Vancouver Opera with Gluck’s epic story of love and longing, Orfeo ed Euridice. This work fully embraces the essence of opera, integrating musical, theatrical, design, and dance elements that make opera such a powerful artform. This company premiere is particularly unique. It’s a bold collaboration with director and choreographer Idan Cohen, Artistic Director of Ne. Sans Opera and Dance, who transforms this opera into an innovative contemporary dance work. We hope you enjoy this incredibly special production as much as we have enjoyed creating it. Thank you to our generous donors, subscribers, patrons, and sponsors who have supported us during this tremendously difficult time. It is because of you that we are back, live, on the mainstage of the Queen Elizabeth Theatre.
At BMO, we take pride in our local art communities. That’s why through various sponsorships and community involvement we are committed to helping. BMO is proud to support Vancouver Opera as the 2021-2022 Season Sponsor.
On behalf of the artists, staff, and board, thank you for joining us for this much-anticipated celebration.
Tom Wright, General Director
Richard Rees, Board Chair 5
ORFEO ED EURIDICE Opera in Three Acts
Composed by Christoph Willibald Gluck Libretto by Ranieri de’ Calzabigi after the myth of Orpheus
A co-production with Ne. Sans Opera and Dance and the Dance Centre
The performance will last approximately 90 minutes. In Italian with English SurTitles™ First performed at Burgtheater, Vienna, 05 October 1762. Vancouver Opera Premiere. Sets, Properties, and Costumes built by Vancouver Opera.
Conductor Leslie Dala
Director & Choreographer Idan Cohen
CAST IN ORDER OF VOCAL APPEARANCE Orfeo Mireille Lebel
Euridice Krisztina Szabó
Amore Mireille Asselin With the Vancouver Opera Chorus and dancers as shepherds, shepherdesses, nymphs, demons, Furies, happy spirits, heroes, and heroines, and the Vancouver Opera Orchestra.
Assistant Conductor Jennifer Tung
Principal Répétiteur Tina Chang
Assistant Choreographer Racheal Prince
Assistant Lighting Designer Chris Malkowski
Set Designer Amir Ofek
Assistant Set Designer Cecilia Vadala
Lighting Designer Itai Erdal
Assistant Stage Managers Marijka Asbeek Brusse Michelle Harrison
Costume Designer Evan Clayton
English SurTitle™ Translations Sarah Jane Pelzer
Stage Manager Theresa Tsang 6
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SYNOPSIS Welcome to Amore’s parlour. Tonight, Amore and her guests proudly present, for your pleasure, the story of Orfeo ed Euridice. Enjoy the show!
ACT I On Orfeo and Euridice’s wedding night, the crowd mourns the death of Euridice, after she was bitten by a snake, while out in the fields picking flowers with her companions. Alone, Orfeo calls out in despair. Orfeo vows to rescue Euridice from the underworld and Amore, goddess of love, appears with word that Jove will allow Orfeo to descend into the underworld to retrieve Euridice. There is one condition; Orfeo must neither look at Euridice, nor explain why looking upon her is forbidden, otherwise Orfeo will lose Euridice forever. Orfeo agrees and embarks on his voyage.
ACT II Upon entering, the keepers of the underworld try to deny Orfeo’s passage. Orfeo’s lament softens and placates them and they grant Orfeo access to the Elysian Fields. Orfeo is moved by the beauty of the landscape, but is determined to take Euridice away with him. Without him gazing at her, they start their journey back to the world of the living. ACT III Forbidden to look at Euridice or to explain, Orfeo leads Euridice as they make their way out of the underworld. In a moment of panic and desperation, Orfeo can’t resist, and turns to Euridice. Euridice dies, again. Griefstricken, Orfeo can not bear to live without Euridice and decides to join her in final death. In response to Orfeo’s deep love and devotion, Amore appears, revives Euridice, and returns the lovers back to the world of the living.
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NOTES FROM THE CONDUCTOR Leslie Dala
SOUND TO COLOUR: AN EXPLORATION OF SYNESTHESIA, THROUGH PAINTING, BY CIELE BEAU. Artist Ciele Beau translates sheet music into colour, using her synesthetic responses to a piece of music. When Ciele hears music and tone she sees and feels colour. What you’re seeing is a piece of music translated into colour and in musical time. Synesthesia is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway in the brain leads to involuntary experiences in a second sensory or cognitive pathway.
Orfeo ed Euridice | Aria: “Che farò senza Euridice” | Vocal melody translated: Orfeo/Orpheus
When Gluck composed Orfeo in 1762, opera had become very much the cult of the celebrity performer where singers, particularly star castrati, had free reign with vocal lines, adding embellishments and lengthy cadenzas, which had very little to do with what was on the printed page. Gluck, perhaps inspired by Rousseau’s theories of “naturalness”, wanted to restore simplicity and emotional truth, and to deconstruct the current approach to writing operas with da-capo arias (arias with an A section, contrasting B section, and inevitable reprise of the A section with embellishments) for which Handel had become quite famous. In fact, Gluck met Handel in London in 1745, at which time Handel remarked about Gluck, “he knows no more about counterpoint than Waltz, my cook!”
Whatever Handel might have thought of Gluck, Orfeo turned out to be a revolutionary opera. We find in Orfeo a more direct and simplistic approach to setting text, a closer relationship between recitative and arias, and more cohesion in scenes where one musical number flows naturally into another creating an unprecedented continuity and a greater unification of drama and music. Also, the weaving together of dance and song is a key component of the piece and the central focus of this production as envisioned and realized by Director and Choreographer Idan Cohen. The impact of this classic masterpiece cannot be overstated, as Gluck went on to become a huge influence on composers such as Mozart, Berlioz, Weber, and even Wagner.
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NOTES FROM THE DIRECTOR Idan Cohen
I am honoured and privileged to offer Vancouver audiences my interpretation of this masterpiece by Gluck, to the beautiful libretto by Calzabigi. Directing opera through contemporary dance opens a whole new world of collaborative opportunities: an environment that involves working with singers, dancers, musicians, visual artists, and designers. Opera, at its essence, is a celebration of the arts, and we have gathered the best artists to offer you Orfeo ed Euridice in all its glory. In this production, I have chosen to look at the concept of love as it is represented through Calzabigi’s libretto, and deconstruct it. Orfeo and Euridice are, after all, actors, acting a tale of love. Their tragic love story is being used to NE. SANS OPERA & DANCE WORKSHOP. PHOTO BY FLICK HARRISON.
pleasure and entertain Amore’s guests. With Orfeo being the ultimate representative of the artists and the arts, this story provokes questions of the nature of art as entertainment, and the hierarchical true nature of our concept of love. We ask: Who earns the right to love, and under what obligations? I am grateful to Vancouver Opera and the Dance Centre to have trusted me with this production and am humbled to share this work with each and every one of you. The work you are about to witness has been in my thoughts, dreams, and prayers for the past four years, and I am overwhelmed with excitement and joy to be sharing it with you tonight. Sit back, take a deep breath, and enjoy the ride! 13
MIREILLE LEBEL, MEZZO-SOPRANO Orfeo Mireille Lebel grew up in Vancouver and studied music at the University of Toronto and the University of Montreal. Following her studies, she was awarded major grants by the Canada Council and the Jacqueline Desmarais Foundation and furthered her training at 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.
BIOGRAPHIES
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LESLIE DALA Conductor Conductor and pianist Leslie Dala is VO’s Associate Conductor and Chorus Director, the Music Director of the Vancouver Bach Choir, and the Music Director Emeritus of the Vancouver Academy of Music Symphony Orchestra. He has conducted in France, Italy, Ireland, the Czech Republic, China, and Taiwan, and recently made his debut at Carnegie Hall. Earlier this year he recorded the Complete Piano Etudes of Philip Glass for the Redshift label.
KRISZTINA SZABÓ, MEZZO-SOPRANO Euridice Krisztina Szabó is highly sought after in both North America and Europe. She has been nominated twice for a Dora Award for Outstanding Female Performance. Canadian audiences have seen Ms. Szabó with Vancouver Opera, the Canadian Opera Company, Edmonton Opera, Calgary Opera, L’Opéra de Québec, Edmonton Opera and Calgary Opera, Toronto Symphony Orchestra, Les Violons du Roy, and L’Opéra de Montréal among others.
IDAN COHEN Director and Choreographer Idan Cohen is an award-winning dancer, choreographer, and opera stage director. Cohen was born and raised in Israel, kibbutz Mizra and relocated to Vancouver in 2017. Cohen is the artistic director of Ne. Sans Opera and Dance, a Vancouver-based society that focuses on the fusion of opera and contemporary dance.
MARIJKA ASBEEK BRUSSE Assistant Stage Manager Marijka has enjoyed working on many Vancouver Opera productions over the past decade, as well as Pacific Opera Victoria, Touchstone Theatre, Arts Umbrella Dance Company, Canadian Stage, the Belfry Theatre, and as a faculty stage manager at the Banff Centre’s Opera program. Marijka is a graduate of UBC Theatre’s Production & Design program, where she also taught stage management for seven seasons.
MIREILLE ASSELIN, SOPRANO Amore Deemed “a treasure” by the Toronto Star, Mireille enjoys a diverse, international career. She has sung five seasons at the Metropolitan Opera, where she “stole the show” in the role of Adele, jumping in on opening night of Die Fledermaus. Some of her recent credits include Carnegie Hall, Théâtre des Champs Elysées, Canadian Opera Company, and the Royal Opera of the Palace of Versailles.
TINA CHANG Rehearsal Pianist Described as a “scintillating player”, pianist and coach, Tina Chang, is on the music staff at Vancouver Opera. Based in Vancouver, she has been involved with various musical organizations in town: Chor Leoni, Sound the Alarm Music Theatre, re:Naissance Opera, and Health Arts Society. She is currently adjunct professor at the University of British Columbia, and on faculty at the Vancouver Academy of Music.
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EVAN CLAYTON Costume Designer Evan Clayton is the founder behind his selftitled label, EVAN CLAYTON, a brand that marries art and design to create strong imaginative statements in every piece of work. Since his first release in 2011, Evan has become an internationally known name in fashion with collections presented in Canada, Austria, and Japan in addition to features in Vogue UK, Vogue Korea, Paper Magazine, Nylon, and more.
AMIR OFEK Set Designer Born and raised in Israel, Amir graduated from Central Saint Martins College of Art & Design and Brandeis University (MFA Theatre Arts). He designed productions in Vancouver, London, TelAviv, Boston and Durham (NC) where he worked as the resident set and costume designer/guest lecturer for Duke University Department of Theatre Studies. Amir was the Set and Costume Designer for VO’s La Voix Humaine (2020 Digital season).
ITAI ERDAL Lighting Designer An award-winning lighting designer, writer, and performer, Itai has designed over 300 shows. He has won six Jessie Richardson Awards, Toronto’s Dora Mavor Moore Award, a Winnipeg Theatre Award, the Jack King Award, Victoria’s Spotlight Choice Award, and the Design Award at the 2008 Dublin Fringe Festival. He was shortlisted to the Siminovitch Prize in 2018. He is the founder of the Elbow Theatre in Vancouver.
RACHEAL PRINCE Assistant Choreographer Racheal Prince is a professional dance artist with over 16 years experience. Racheal started her career with the Alberta Ballet and moved on to join Ballet BC. After 12 seasons with the company, she took on the role of the Assistant Rehearsal Director for the 2019/20 season. She is currently the Associate Director of Lamondance and the Co-Founder and Director of Dance//Novella.
MICHELLE HARRISON Assistant 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, The Barber of Seville, and the Canadian premiere of The Music Shop. Theatre credits include Peter and the Starcatcher (Arts Club) and the Jessie Award-winning production of Whose Life Is It Anyway? (Realwheels). She is a graduate of UBC.
THERESA TSANG Stage Manager In addition to her over 20 seasons with Vancouver Opera, Theresa is a member of the stage management teams for Wexford Festival Opera in Ireland and Garsington Opera in the UK. She has also been a long-time Faculty Stage Manager for the Opera programmes at the Banff Centre, a guest lecturer for UBC’s Theatre Department, and guest stage manager for UBC’s opera department.
CHRIS MALKOWSKI Assistant Lighting Designer Chris Malkowski designs lighting for dance, drama, opera, musical theatre, and live events across Canada and internationally. Selected Lighting Designer credits include: AF (Canadian Stage/ Red Sky Performance 2020), The Black Drum (Soulpepper/Deaf Culture Centre 2019), and Pass Over (Obisdian Theatre/ Buddies in Bad Times 2019). Chris is a member of the Associated Designers of Canada.
JENNIFER TUNG Assistant Conductor Jennifer leads a uniquely versatile career as a music director, collaborative pianist, and soprano. She is Artistic Director of Toronto City Opera, Assistant Conductor of Mississauga Symphony Orchestra, and was named a 2020 conducting fellow with Tapestry Opera’s Women in Musical Leadership program. Jennifer serves on the faculty at Toronto’s Glenn Gould School of Music and is a sought-after faculty member for summer programs internationally.
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ORFEO ED EURIDICE
CHORUS
PRODUCTION
ORCHESTRA
Sopranos Heather Pawsey Eve-Lyn de la Haye Rebecca Collett Szu-Wen Wang Karen Ydenberg
Technical Director Autumn Coppaway Stage Manager Theresa Tsang Assistant Stage Managers Marijka Asbeek Brusse Michelle Harrison Assistant Technical Director Michael Kerns Apprentice Technical Director Chiara Guizzo Assistant Lighting Designer Chris Malkowski Head of Wardrobe Tiffany Bishop Stitchers Sean Malmas Roderik Sloboda Apprentice Wardrobe Evan Bergen Michelle O’Reilly Head of Properties Stephen Elgar Properties Builder Buyer Jesse Orr Sarah McCready Head Scenic Carpenter Vince Folgizan Head Scenic Welder Phil Piper Scenic Artists Tegan Klancnik Omanie Elias Production Head Carpenter Dan Woods Production Head Electrician Dave Marx
Flute Brenda Fedoruk, Principal Anne-elise Keefer Chalumeaux Anne-elise Keefer Oboe / Cor Anglais Emma Ringrose, Acting Principal Erin Marks Bassoon Ingrid Chiang, Principal Horn Laurel Spencer, Principal Nick Anderson Trumpets Tom Shorthouse, Principal Jim Littleford Trombone Jeremy Berkman, Principal Jim Tranquilla Bass Trombone Sharman King Timpani Philip Crewe, Principal Harp Elizabeth Volpé Bligh, Acting Principal Continuo Tina Chang, Principal 18
Violin 1 Mark Ferris, Concertmaster Angela Cavadas, Assoc. Concertmaster Lawrie Hill Rick Dorfer Evelyn Creaser-Rumley Yun Jung Violin 2 Domagoj Ivanovic, Acting Principal Ken Lin, Acting Assistant Principal Ellen Farrugia Toni Stanick Adrianne Stride Viola Isabelle Roland, Acting Principal Reg Quiring, Acting Assistant Principal Marie-Claude Brunet Mila Tymoshenko Cello Jonathan Lo, Acting Principal Harold Birston, Acting Assistant Principal Isidora Nojkovic Bass Michael Vaughan, Acting Principal Mark Beaty, Acting Assistant Principal Orchestra Manager Jim Littleford Orchestra Stage Manager Jim Tranquilla Orchestra Librarian Tom Shorthouse
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Mezzos Heather Molloy Dionne Sellinger Megan Morrison Brenda Glass Alexander Elena Razlog Tenors William Grossman Kevin Armstrong Sergio Augusto Wade Nott Adam Kozak Bass/Baritones Henry Chen Angus Bell Jason Cook Glenn deVerteuil Brandon Thornhill DANCERS Aiden Cass Alexis Fletcher Kate Franklin Ted Littlemore Rachel Meyer Hana Rutka Supernumeraries Oksana Maslechko Hayley Galati Isla Spotswood Will Jessup
Thank Yous Arts Club Theatre Company Bard on the Beach
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BEHIND THE SCENES: COSTUMES This visually stunning production has some unexpected eye-candy thanks to Evan Clayton, a Vancouver-based fashion designer, known for his dramatic, theatrical style and his work designing costumes for RuPaul’s Drag Race and Canada’s Drag Race cast.
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1. Amore and dancers
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2. Orfeo costumes 3. Euridice bridal costumes, Act I & 2 2
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4. Dancers. L-R: Elysium, Euridice, Orfeo, Judges, and Funeral. COSTUME SKETCHES BY EVAN CLAYTON.
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WOMEN IN MUSICAL LEADERSHIP
Vancouver Opera is proud to be a participating organization in the Women in Musical Leadership National Conducting Residency. Conductor Jennifer Tung joins the creative team of Orfeo ed Euridice as part of this innovative multi-year professional opportunity to advance female-identifying and non-binary music directors and conductors and richly expand the talent pool of musical leadership in Canada. This program is led by Tapestry Opera, in partnership with Pacific Opera Victoria, lead orchestral partner Toronto Symphony Orchestra, and in collaboration with leading opera and music organizations across Canada. “I am so humbled and excited to be awarded this fellowship so I can focus on learning from the fantastic mentors, as well as getting experiences on the podium that will help me hone this incredibly complex craft,” says Conductor Jennifer Tung. “I look forward to collaborating with many phenomenal musicians, to learn from them and to share my passion with them.”
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VO BOARD AND STAFF
VANCOUVER OPERA BOARD OF DIRECTORS Chair Richard Rees Vice Chair Susan Van der Flier Treasurer Roger Flowerdew Secretary Krista Johanson Massoud Abedi Amrita Ahuja Human Alghabi Meera Bawa Milton Carrasco Catherine Dangerfield Valerie Jerome Kirk LaPointe Pierre Lebel Maria Leone Bill Maclagan Jennifer Muench Jan Sampson Carol Tsuyuki Alexi White Andrea Wood
VANCOUVER OPERA STAFF General Director Tom Wright Music Director Emeritus Jonathan Darlington Director of Artistic Planning Adrianne Wurz Chief Development Officer Lisa Westermark Director of Finance and Administration Doug Querns Director of Marketing Sarah Hitner
PRODUCTION Technical Director Autumn Coppaway Assistant Technical Director Michael Kerns Assistant Head of Properties Stephen Elgar Head of Wardrobe Tiffany Bishop Stage Managers Theresa Tsang Marijka Asbeek Brusse Michelle Harrison Collette Berg DEVELOPMENT Manager, Annual Campaign Erin Reddekopp Manager, Strategic Partnerships Taryn Plater Coordinator, Donor Services Allison Liu FINANCE AND ADMINISTRATION Accounting and Payroll Manager William Murgatroyd Office Services Administrator Haley Magrill Building Manager Kevin MacLeod
Acting Chair, Vancouver Opera Guild Nancy Wu 28
ARTISTIC PLANNING Company Manager Howard Lee Associate Conductor and Chorus Director Leslie Dala Repetiteur Tina Chang Orchestra Manager Jim Littleford Music Librarian Tom Shorthouse Orchestra Stage Manager Jim Tranquilla
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MARKETING Creative Director Annie Mack Database and Ticket Centre Manager Keltie Laidlaw Ticket Centre Associates Charlene Hibbard Kathryn Dobbs Publicist Cynnamon Schreinert PARTNERSHIPS AND ENGAGEMENT Manager of Partnerships and Engagement Ashley Daniel Foot Teaching Artists Jennifer Butler Eve-Lyn de la Haye Cara Guri Cassie Luftspring Lesley Sutherland
YULANDA M. FARIS YOUNG ARTISTS PROGRAM Program Head Leslie Dala Head Coach Kinza Tyrrell Coach Tina Chang Jonelle Sills, Soprano Hillary Tufford, Mezzo-Soprano Ian Cleary, Tenor Luka Kawabata, Baritone Amy Seulky Lee, Pianist Amanda Testini, Director
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