The Pearl Fishers House Programme

GEORGES BIZET

By Kate Hamill

by

by

A MESSAGE FROM THE GENERAL DIRECTOR

Welcome to the first production of our 2022–2023 season: Bizet’s The Pearl Fishers. It has been an incredible journey to get here, to the Queen Elizabeth Theatre, with you all, enjoying a rarely produced operatic treasure with the finest local, national, and international artists on our stage.

As we move away from the pandemic’s harsher restrictions to more “normal” conditions to both make and enjoy opera, it’s clear to us that moving forward, we must ensure that opera is produced safely for everyone: our singers, musicians, creative teams, crews, and you, our audiences. We feel the extra time, effort, and resources it takes to produce high-level art at this time are absolutely worth it.

Equally valuable are the efforts we are putting into mitigating our impact on the environment as we produce this grand artform; and making sure there is a multiplicity of voices at the table as we do so. I offer sincere thanks to our community partners who helped us consider this piece in a thoughtful, sensitive way; and I look forward to meeting new people and sharing perspectives as we progress through the season.

Finally, we are delighted to be able to offer a full season of operatic delights. If you have already subscribed—thank you! If you are considering subscription, I urge you to take advantage of our many flexible options.

Tom Wright General Director

A MESSAGE FROM THE BOARD CHAIR

What a pleasure it is to be back at the theatre for this lovely, seldom-seen work by the composer of Carmen. Bizet’s The Pearl Fishers has some of the most gorgeous, recognizable music in all of opera, and if you’ve never experienced it, you’re in for a treat. Congratulations to all involved for this thoughtful and sensitive production.

I am delighted to be enjoying my first season as Chair of the Board of Directors of Vancouver Opera. I offer my gratitude to Past Chair Richard Rees for his deft stewardship of the company through a very challenging time, and to the staff and other board members for their warm welcome and continued service. Chairing the board at this time is especially exciting. We are emerging from the global pandemic at a time when all of the arts are working towards increased inclusion and wider access to the arts for all.

I look forward to getting to know you, our audience members, as we enjoy this special season that the company has programmed with opera-lovers in mind. I hope you’ll accompany me as I fall in love with opera all over again!

Susan Van der Flier Board Chair

NOTES FROM THE CONDUCTOR Kamna Gupta

A decade before Carmen, Bizet gave us Les Pêcheurs de Perles. Berlioz described it as “beautiful and expressive… filled with fire and rich coloring.” Indeed, Bizet’s creative genius is evident in this opera, composed when he was just 25. Orchestral colors create a richly sensual sonic world: harp and flutes paint moments of devotion, piccolos denote nighttime in the ancient ruin, a distant horn duet evokes the memory of a hunt long ago. The rich strings ebbing and flowing represent the marine world of these fishers. And, of course, the chorus, with its massive importance throughout the opera, shows the full range of human experience: they warmly welcome their newly elected leader Zurga in a stunning moment for men’s voices, they fiercely denounce the treason of Nadir and Leila, and they fear for their lives at the wrath of the storm (another feat of orchestration).

Taking centre stage in this opera are the bonds of love, friendship, and duty between the four main characters. Though there are beautiful solos throughout, there are in fact more duets than arias; the most iconic music is the Duet between Nadir and Zurga, “Au fond du temple saint” (often nicknamed the Friendship Duet). It is a human story at heart— showing us at our best and at our worst. I am thrilled to be making my debut with Vancouver Opera with this incredible piece, with gratitude for the imaginative and thoughtful direction by Rachel Peake and the team here.

NOTES FROM THE DIRECTOR

Rachel Peake

This piece is a story about love in its many forms. I find the placing of romantic love and friendship side-by-side incredibly relatable: our deep friendships can be as meaningful as our romantic partners. What is the experience of being placed at the crossroad of the need to choose between the two? At the same time, this piece is a story about a group of people who come together for a short time to form a community and to take part in an activity that is extremely dangerous. Pearl fishers used diving weights to take them down as deep as possible, as fast as possible, in extremely dangerous waters. In those extreme conditions and within that “pop up community” their social norms become re-defined and acceptable behaviour shifts.

Like the classic Trolley Car Problem, this story also asks us to reflect on being forced to choose between the good of the larger collective who are unknown to us, and the good of the few we love dearly.

This story was written through the lens of nineteenth century men with a certain defined level of privilege and a specific world view. We have designed this opera to highlight that point, and to investigate our own cultural bias as its viewer. It is not an authentic representation of the place now known as Sri Lanka. However my hope is that it makes us as the audience think of Sri Lanka, a country that I love, and seek to know a deeper truth about it than the one Bizet, Cormon, and Carré have represented.

Proud to support Vancouver Opera.

Proud to support Vancouver Opera.

UNI-VERSAL STORIES

A response to The Pearl Fishers

By Ajay Parasram

South Asia was always global. The island of Lanka was a hub of globalization for thousands of years connecting Asia, Africa, and the Middle East. The Mauryan Emperor Ashoka sent his son as emissary to Lanka ~2200 years ago to help usher in a period of Buddhist internationalism, and kings have been marrying South Indian princesses since before this period. For millennia, Lanka has woven inter-cultural relations.

The arrival of the Portuguese, and the Dutch and British who came in their wake, did not mark a “discovery” at all, but merely the inclusion of Europeans into the thousand year weave multicultural and political development. You couldn’t know that from The Pearl Fishers though, set as it is upon the “arid and wild beach” of Bizet’s Orientalist imagination.

Bizet, and European creatives and colonialists of the 19 th century, treated worlds that they could not understand as pre-historical, traditional, and ultimately as raw material

that could be manipulated carelessly to tell European stories while using brown bodies as mere placeholders. Rather than universal human stories, they told uni-versal ones, where the beauty and complexity of most of humanity sat backstage. Eurocentric stories and worldviews took centre stage, inflated by the conviction that only they were positioned to tell stories about the Other without understanding culture and cosmology beyond Europe.

Don’t look for universal stories tonight, look for evidence of uni-versal story-telling. Imagine what kinds of stories become possible if cultivated on the fertile ground of ancient Lanka instead of the Orientalist landscape of Bizet’s imagination.

Ajay Parasram is an Associate Professor in the departments of International Development Studies and History at Dalhousie University, Kjipuktuk (Halifax) where he is learning how to be a simultaneous immigrant to Mi'kma'ki and citizen of Canada in a way that his descendants can respect.

You can find more information at ajayparasram.com

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SYN OP SIS

ACT I

Amid festivity, the pearl fishers prepare to choose a leader. As Zurga is chosen, his friend Nadir arrives after a long absence. Together, the two reminisce about the night they encountered a mysterious and beautiful woman. Both fell in love with her, but renounced their rivalry and vowed not to pursue her in order to save their friendship.

A veiled woman approaches. Léïla has been chosen as the priestess whose song protects the fishers at sea. She is presented by the high priest Nourabad and acclaimed by the villagers. Before she is led away, she and Nadir recognize each other. Despite seeing him, she vows to remain chaste. Nadir, despite his assurance to Zurga, has never stopped loving her. As she sings out to protect those at sea, Nadir tells her he is near and will protect her.

ACT II

Nourabad reminds Léïla of her vows, warning her to remain faithful. She assures him that she never breaks a promise. She tells him she once refused to reveal a fugitive, although his pursuers threatened to kill her. The fugitive gave her the necklace she always wears to prove her fidelity.

Later, she and Nadir meet, declaring their love. Nourabad witnesses their meeting and curses them both. Nadir is captured and charged with sacrilege. Zurga, as leader, claims his right to settle the case and decides to pardon them in deference to his friendship with Nadir. But Nourabad tears the veil from Léïla’s face, and Zurga recognizes her. Zurga revokes his pardon and swears revenge.

ACT III

Scene 1

Zurga regrets his condemnation of Nadir. Léïla appears to beg for Nadir’s life, proclaiming she is willing to die for him. Her devotion stirs Zurga’s jealousy and renews his intention to have Nadir killed, for which Léïla curses Zurga. Before leaving to meet her fate, she asks a fisher to take her necklace to her mother when she dies. Zurga immediately recognizes the necklace.

Scene 2

The people celebrate around the funeral pyre where Léïla is brought to meet her fate with Nadir. But Zurga rushes in with the news that the camp is on fire. As the fishers run to fight the flames, Zurga confesses he lit the fire as a diversion, to allow him to free the lovers. He reveals that he was the fugitive who gave the necklace to Léïla when she saved his life long ago. He frees them and remains behind, alone, as Léïla and Nadir escape.

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Sophie Lui

AARON BLAKE, tenor Nadir

The recipient of a 2017 George London Foundation Award, tenor Aaron Blake has performed with world-renowned companies including The Metropolitan Opera, Komische Opera Berlin, and Israeli Opera. Upcoming performances see him in recital at Santa Cecilia in Rome; performing a concert of arias, songs, and duets at Walt Disney Concert Hall; and covering Don Ottavio in the Met’s new production of Don Giovanni.

KAMNA GUPTA Conductor

Kamna Gupta is an American prizewinning conductor experienced in operatic, orchestral, and choral repertoires. Recent and upcoming engagements include conducting In Our Daughter’s Eyes with LA Opera and the Prototype Festival, Jungle Book with The Glimmerglass Festival, Zolle with the International Contemporary Ensemble, The Ritual of Breath is the Rite to Resist at the Dartmouth Hopkins Center for Arts and La Calisto with Mannes Opera.

RACHEL PEAKE Director

Rachel is currently the Associate Artistic Director of the Arts Club Theatre. She has directed for theatre and opera companies across Western Canada; most recently Something Rotten! for TUTS and 9 to 5 for the Citadel. For Vancouver Opera Rachel has directed La Voix Humaine, La Cenerentola, The Marriage of Figaro, and Stickboy. Rachel is a three-time Jessie Richardson Award recipient and is a graduate of the UofA and Studio 58. rachelpeake.com

MIRIAM KHALIL, soprano Leïla

Two-time Juno nominated artist, Miriam Khalil has established herself as one of Canada’s most versatile performers. This season, Miriam looks forward to Handel’s Messiah with the Newfoundland Symphony, Gorecki’s Symphony of Sorrowful Songs for the Symphony of Northwest Arkansas, and Beethoven’s Ninth with Edmonton Symphony. Recent highlights include Against the Grain Theatre’s acclaimed Messiah/Complex, and La Bohème (Edmonton Opera).

PHILLIP ADDIS, baritone Zurga

Known for his “nimble and expressive” sound, baritone Phillip Addis is established as one of Canada’s leading performers of opera and concert repertoire. In 202223, he will reprise Pelléas (Pelléas et Mélisande) at Teatro Municipale di Piacenza and Teatro Comunale di Modena, as well as make debuts as Don Alfonso (Così fan tutte) with Pacific Opera Victoria and as Sharpless (Madama Butterfly) with Opéra de Québec.

Join the Vancouver Choir Chamber for A CHORAL FEAST, an exceptional showcase of Vancouver’s superb smaller vocal ensembles.

VARTAN GABRIELIAN, bass-baritone Nourabad

Canadian-Armenian bass-baritone

Vartan Gabrielian is an alumnus of the Canadian Opera Company’s ensemble program and Santa Fe’s Apprentice program. Highlights of 22/23 include Verdi’s Requiem (Orchestre Philharmonique des Mélomanes), and a return to the COC for roles in Salome, Macbeth, Tosca, and Le nozze di Figaro. A Sylva Gelber and Gerda Lissner Foundations prize winner, Vartan was also a finalist in the 2022 Belvedere Competition.

MARIJKA ASBEEK-BRUSSE 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.

SAWYER CRAIG

Assistant Director

A director and soprano from Edmonton, Alberta, Sawyer Craig has been praised as a “standout” performer (Edmonton Journal), “particularly radiant in coloratura passages” (Opera Canada). Sawyer holds an Artist Diploma in Stage Direction for Opera from McGill’s Schulich School, and is the cofounder of Good Mess Opera Theatre, a not-for-profit opera company with the aim of creating experimental and unusual theatre.

TINA CHANG

Principal Répétiteur & Assistant Chorus Director

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.

LESLIE DALA Associate Conductor & Chorus Director

Conductor and pianist Leslie Dala is VO’s Associate Conductor & Chorus Director, Music Director of the Vancouver Bach Choir, and 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. In 2021 he released the Complete Piano Etudes of Philip Glass for the Redshift label.

RICHARD EPP Répétiteur

Richard Epp is a Vancouver based vocal coach, pianist and conductor. He was senior opera coach for the Opera Workshop at UBC and a sessional instructor in the School of Music. At UBC he has conducted Serse, Le Nozze di Figaro, Die Zauberflöte, Hänsel und Gretel, Der Fledermaus, Weisse Rose and two world premieres among others. He was a pianist for VO's Resident Artist Program and was on the faculty at the Vancouver Academy of Music.

LUKA KAWABATA, baritone Understudy, Zurga Praised for his “well-projected, heroic baritone” (Opera Canada), Nikkei-Canadian, Luka Kawabata returns to the Yulanda M Faris Young Artist Program for the 2022–2023 season. He previously appeared as Bill Bobstay in HMS Pinafore, Dmitri in The Music Shop and Escamillo in Carmen: Up Close and Personal. He is a graduate of the Digital Emerging Artist Program with Manitoba Opera and The Association of Opera in Canada’s ‘RBC Fellowship’.

KRYSTAL KIRAN Choreographer

A performing artist, choreographer, and emerging director, Kyrstal has appeared on Broadway, in theatres across North America, and toured arenas internationally as a lead vocalist with Oscar/Grammy award winning composer, AR Rahman. Krystal has choreographed for film/ television/stage and is honoured to be making her debut at VO. She currently serves as City of Richmond’s Artist-in-Residence at Branscombe House. KrystalKiran.com

MIKE KOVAC Fight Director

Mike Kovac is a Certified Fight Director with Fight Directors Canada and works in film/television/theatre in and around Vancouver. He has fightdirected Noises Off, The Shoplifters, Beauty and the Beast, Misery, and Mustard (Arts Club). He’s an instructor with Capilano University, UBC, TRU, among others. If you see him on stage or screen, he’s probably about to get beaten up.

REBECCA MULVIHILL

Assistant Stage Manager

Rebecca is returning to Vancouver Opera after Assistant Stage Managing La Traviata in 2019. Favorite credits: Harlem Duet (Bard on the Beach). Bunny, The Father (The Search Party); As dreams are made (Music On Main); Anywhere But Here (Electric Company Theatre); Topdog/ Underdog, The Shoplifters (Arts Club); Fall Away Home (Boca Del Lupo). For CLM and BJS.

KIMIRA REDDY

Co-Scenic & Projection Designer

Kimira is an accomplished artist gratefully creating and practicing her art on the unceded Coast Salish Territories. As a Set Designer, you can see her work on theatre stages across BC. She is also the Communications Director of Raven Spirit Dance. By combining her creative imagination and technical expertise, Kimira brings artists' visions into the innovative world of virtual reality. Originally from sunny South Africa, she holds an MFA in Design from UBC. kimirareddy.com

SCOTT REID

Co-Scenic & Projection Designer

Scott Reid has been designing for theatre, opera and dance for over 30 years. He is a set, lighting and projection designer. Although based in Calgary, Scott’s designs, have been seen across North America. He has enjoyed designing for such diverse projects as theatre for young audiences touring shows, new plays, as well as large-scale operas and ballets. Each show brings its own challenges, and this is what makes it interesting.

JEREMY SCINOCCA, tenor Understudy, Nadir

Jeremy Scinocca is an award-winning tenor from Toronto and a recent graduate of the Masters of Voice and Opera program at McGill University. Recently, Jeremy performed the roles of Edoardo, in Un girono di regno, Mr. Buchanan in Street Scene, Mr. Pinkleton in Cinderella and Hector in Rosa by Canadian composer James Rolf. He has performed in recitals across Toronto, including a self-organized fundraiser for Special Olympics Ontario.

AMY SEULKY LEE Répétiteur

Amy Seulky Lee holds a Master of Music in Collaborative Piano from the University of Toronto, and a Bachelor of Music in Piano Performance from the University of British Columbia. Amy made her debut with the Vancouver Metropolitan Orchestra in 2010 and has since performed in concerts across Canada, the United States, South Korea, and Italy. She served as music director for Summer Opera Lyric Theatre and Malfi Productions.

JAMIE SWEENEY

Assistant Lighting Designer

Jamie Sweeney is a Vancouver based lighting designer and theatre collaborator. She holds a Bachelor of Fine Arts in Theatre Production and Design from Simon Fraser University. She is thrilled to be assisting on her first Vancouver Opera production.

SOPHIE TANG

Lighting Designer

Sophie Tang is an award-winning lighting and set designer working in Theatre, Opera and Dance. She has worked with companies including Stratford Festival, Arts Club Theatre, Bard on the Beach, Citadel Theatre, City Opera and so on. Selected credits: Romeo and Juliet (Bard on the Beach), 9 to 5 (Citadel Theatre), La voix Humaine (City Opera), Rez Sisters (Stratford Festival), At the Statue of Venus (City Opera).

ELYSE WALL

Assistant Stage Manager

Elyse is an emerging stage manager and recent graduate of UBC's theatre production and design program. Previously with Vancouver Opera, Elyse was the apprentice stage manager for HMS Pinafore and is excited to be returning for The Pearl Fishers! Other credits include Machinal (UBC Theatre), A Chorus Line (CapU Theatre), and 9 to 5: The Musical (CapU Theatre).

Understudy, Leïla

McKenzie Warriner is a Saskatchewan-born soprano thrilled to make her Vancouver debut as a Yulanda M. Faris Young Artist. This season, she is also a Britten Pears Young Artist, and will sing Messiah with the Saskatoon Symphony Orchestra. Recent credits include Alligator Pie (Regina Symphony Orchestra), The Shop Girl (COSA Canada), Der Schauspieldirektor (Eastman Opera Theatre), and Hansel and Gretel (University of Manitoba).

MCKENZIE WARRINER, soprano

At

Bill

THE PEARL

Richard & Elise Rees

VANCOUVER OPERA BOARD OF DIRECTORS

Chair Susan Van der Flier Vice Chair

Richard Rees Treasurer

Roger Flowerdew Secretary Krista Johanson

Mass Abedi Human Alghabi Catherine Dangerfield

Shaun Dolman

Joshua Hutchinson Kirk LaPointe Pierre Lebel Maria Leone Jessica Macintosh Jennifer Muench Jan Sampson Stanis Smith Carol Tsuyuki Alexi White Andrea Wood

President, Vancouver Opera Guild Nancy Wu

VANCOUVER OPERA FOUNDATION BOARD OF TRUSTEES

Chair Paul McEwen Treasurer and Secretary Jim MacCallum

Jill Bodkin

Jake Boxer

Neil Carnell

Roger Flowerdew Yuri Fulmer Emily Mackinnon

Jennifer Muench

Terry Pask

Richard Rees

Susan Van der Flier

VANCOUVER OPERA STAFF

General Director Tom Wright

Music Director Emeritus Jonathan Darlington Chief Development Officer Lisa Westermark Chief Financial Officer Jacqui Evans-Atkinson Director of Marketing Jonathan Harrison Director of Production Nicole Lamb

ARTISTIC PLANNING

Interim Artistic Administrator Howard Lee Associate Conductor and Chorus Director Leslie Dala Assistant Chorus Director and Principal Répétiteur Tina Chang Orchestra Manager Jim Littleford Music Librarian Tom Shorthouse Orchestra Stage Manager Jim Tranquilla

PRODUCTION Production Assistant Elsa Orme Head of Properties Stephen Elgar Head of Wardrobe Roberta Doylend Stage Manager Marijka Asbeek Brusse Assistant Stage Managers Rebecca Mulvihill Elyse Wall

DEVELOPMENT Manager, Major Gifts Lauren Watson Manager, Grants and Proposals Kseniia Gorlevaia

FINANCE AND ADMINISTRATION

Accounting and Payroll Manager William Murgatroyd Office Services Administrator Hazel Yeung

MARKETING

Creative Director

Annie Mack Marketing Manager

Keltie Laidlaw Database and Ticket Centre Manager

Tracey Flattes

Ticket Centre Associate Charlene Hibbard

Social Media Specialist Lucas Bertoli

Senior Communications Advisor Emma Lancaster Publicist

Cynnamon Schreinert Program Ad Sales Jennifer Lee

PARTNERSHIPS AND ENGAGEMENT

Senior Manager, Partnerships and Engagement

Ashley Daniel Foot Coordinator Maya Occhionero-Boyd Teaching Artists Eve-Lyn de la Haye Nicholas Burns Eve Daniell Holly Collis Handford Kris Epps

YULANDA M. FARIS YOUNG ARTISTS PROGRAM Program Director Leslie Dala Program Manager Howard Lee Coach

Tina Chang

McKenzie Warriner, Soprano Hillary Tufford, Mezzo-Soprano Jeremy Scinocca, Tenor Luka Kawabata, Baritone Amy Seulky Lee, Pianist Sawyer Craig, Director

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 the 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.

ELECTRONIC DEVICES

Please silence all electronic devices when entering the theatre, so as not to disrupt the performance.

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.

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 #thepearlfishers.

PARKING

Parking is available at the Queen Elizabeth Theatre parkade, located off Cambie Street between West Georgia and Dunsmuir Streets. Accessible parking is available with an accessible parking decal. Parking is limited, so plan to arrive early.

TICKET SERVICES

Purchases

A variety of subscription packages as well as single tickets can be purchased online through the VO’s website or by calling the VO Ticket Centre.

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.

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With a valid email address, you can receive your e-tickets directly to your inbox, whether you purchase tickets online or through the VO Ticket Centre. You can get your tickets sooner and avoid waiting in line at the theatre before the performance.

PRIVACY

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HANNA BARCZYK