Prelude spring 2011 | volume 18 | number 3

els comediants stage cinderella

The Canadian Company presents . Brian Galliford as the Dancing Master in the production, 2004. Photo: Clive Barda Cover: The presents Cinderella. Earle Patriarco as Dandini in the Houston Grand Opera production, 2007. Photo: Brett Coomer Prelude A gift to our friends

Return Undeliverable Canadian Addresses To: Canadian Opera Company 227 Front St. E., , ON, m5a 1e8 t 416-363-6671 f 416-363-5584 e [email protected] w coc.ca

Editorial Board: Robert Lamb, Managing Director an interview with Roberto Mauro, Artistic Administrator ariadne’s jane archibald Jeremy Elbourne, Director of Marketing Claudine Domingue, Director of Public Relations Christie Darville, Director of Individual Giving director robert carsen on ed euridice Editors: Suzanne Vanstone, Senior Communications Manager, Editorial the coc board Gianna Wichelow, Senior Communications passion, purpose, pride Manager, Creative

Design: Endeavour we appreciate your support New Production Support message from general director alexander neef is Key to COC’s Success

As I write this message, the COC has just returned This March, at the invitation of the world-renowned from an extremely successful run of our production of Brooklyn Academy of Music (BAM), the COC ’s creation, and Other performed the U.S. premiere of its spectacular Short Fables, at the prestigious Brooklyn Academy of production of Robert Lepage’s The Nightingale Music. This marks the second time in our history that and Other Short Fables. Co-produced with Festival we have been invited to BAM. New York audiences, d’Aix-en-Provence, Opéra national de Lyon, and who have not seen the COC in almost 18 years, were Netherlands Opera, in collaboration with Ex Machina once again entranced by the work our marvellous (Québec), this opera is a unique and fascinating company can produce. production that completely transforms the traditional presentation of the art form. The accolades from New York are extremely gratifying because, for me, the trip highlighted what “Magic, pure and complex... Johannes Debus the COC can achieve when we collaborate with artists conducts the Toronto forces with elegant and companies of extremely high calibre. By bringing swagger... Call it a triumph. HHHH" the best artists and organizations together and giving Martin Bernheimer, Financial Times them the opportunity to work at the top of their ability, the results can be, and often are, pure magic. This tour would not have been possible without the When I came to the COC, it was my mission to take most generous support from both the government the company to the next level of accomplishment, and private sectors. On opening night, this group of a level exemplified by our internationally renowned private underwriters, who made possible, in part, this opera house. I hope that some of that work is already COC tour at BAM, joined together with Alexander visible on our stage. Neef, Johannes Debus and the Nightingale, Olga Peretyatko. They gathered to celebrate the Readers of my blog know I have mentioned a few tremendous honour of touring to BAM, which further Canadian and international artists who will be underlines the international acclaim that the COC coming here to perform for you. To that list, I add receives for its continued artistic excellence. a few more: Gerald Finley, Ben Heppner, Adrianne Pieczonka, Ferruccio Furlanetto, Christine Brewer, Photo: Michael Cooper In keeping with our mandate of advancing the art of Ramón Vargas, Marie-Nicole Lemieux, Joshua opera in Canada and abroad, the COC is planning Hopkins, Peter Sellars, Jiří Bĕlohlávek, Dmitri and the opportunity to see some of the world’s to stage a minimum of two new productions each Tcherniakov and David Daniels. In addition, future most celebrated artists in our own city has never Meredith Arwady as Death and Ilya Bannik as the Emperor in the season, over the next decade. This will build a COC’s The Nightingale and Other Short Fables at the Brooklyn seasons will bring productions that we share with, been better. This is the time of year when we stress Canadian inventory of the most important operatic Academy of Music. Photo: © 2011 Jack Vartoogian/FrontRowPhotos among others, , Lyric Opera the importance of subscription renewal because repertoire including the most popular pieces by of Chicago, (Madrid), Festival d’Aix-en- consistent subscription levels give us the stability to Mozart, Verdi, and Puccini. “The Canadian Opera Company’s Orchestra Provence, , Teatro alla Scala and commit to the kind of artists and projects that bring and Chorus were vibrantly conducted by its Covent Garden. us closer to our aspirations. “When its [chorus] members simultaneously accomplished young music director, Johannes Great artists and companies can only really be We truly hope our appreciation for your support is opened up their Chinese robes to reveal hitherto Debus." appreciated once they have been experienced, obvious every time the curtain goes up! hidden puppets, it was pure magic – and the show Anthony Tommasini, New York Times was full of these moments of childlike wonder." Elisabeth Vincentelli, New York Post We are most grateful to those who have stepped forward to participate in the COC’s ambitious plans Commitments towards production underwriting, to date, and look forward to new and continued 2011/2012 – Something Familiar, Something New artist sponsorship or performance sponsorship, play partnerships as we lay the foundation of artistic a significant role in making possible these major programming for generations to come. Four by three of history’s greatest melody-makers works. In turn, it allows the company to benefit from Four Canadian Opera Company premieres led by incredible Canadian and international artists rental and revival opportunities as we enhance our repertoire with an aim to partner with peer To learn more about potential sponsorship opportunities, please contact Christie Darville at Canadian institutions to improve national production renewal deadline – april 30 416-306-2375 or via e-mail at [email protected]. standards together.

2 Prelude Magazine Prelude Magazine 3 Comediants received worldwide co-producer, and WNO was in fact “It is set in an indefinite place exposure and is still remembered scheduled to be the first company and time,” Font continued. “It for its appearance in the closing to stage it. Grand Théâtre de is like a comic book of coloured ceremonies of the 1992 Olympic Genève had also joined as a co- cartoons that captures the Games in Barcelona. producer when David Gockley, happiness in Rossini’s music. then the general director of A philosopher [Alidoro] invites Even though Rossini’s La HGO, indicated the company Cinderella to a ball and that is Cenerentola in Houston would like to be co-producer, but where the transformation and marked Els Comediants’ U.S. he requested that HGO be the her dream actually materialize. opera debut, this is not the first to stage it because of artist She transforms into a princess group’s first foray into the art availability issues. The other and her poor home into a palace. form. Els Comediants was first co-producers agreed and it was The staging contains very few introduced to opera in 1999 scheduled for Houston – just in elements: some chairs, furniture, when Gran Teatre del time for Anthony Freud, who is a divan, a throne in the shape of in Barcelona asked Joan Font now the HGO’s general director, a horse, a mirror, a carriage and (pronounced joh-AHN fohnt) to mount the production. La some mice that take part in the to direct Mozart’s The Magic Cenerentola then travelled to the transformation.” Flute, a production that has since other theatres and made its debut been performed all over Spain, in Barcelona in 2008. The production is visually thus beginning a strong and attractive because it captures successful relationship between What drew Els Comediants to this the lights and colours – white, the two companies. Later came project? “I was attracted to the red, blue, green – of the The Canadian Opera Company presents Cinderella. (l – r) Catherine Cook as Tisbe, Joyce DiDonato as Cenerentola and Tamara Wilson as The Small Magic Flute, an story because it is a fairy tale, and Mediterranean. Stage lighting Clorinda in the Houston Grand Opera production, 2007. Photo: Brett Coomer adaptation of the opera for young I’ve always liked magical stories plays an important role. What the audiences; another Gran Teatre that deal with transformations, audience can expect to see is a del Liceu production, Gluck’s fiction and dreams,” said Joan romantic comedy that extols the Spanish Treasures , was staged at Font in a telephone interview. senses at different levels: comic, the Peralada Festival in Spain. “The story is a myth about a poor romantic, realistic, absurd and Els Comediants performed and humble young woman who ironic, all intertwined. By Ramón Jacques Tomás Bretón’s zarzuela La has the dream of being rescued by verbena de la Paloma in 2004 at a prince; that is why we wanted to “It is a beautiful production,” Font the Granada Music and Dance create a story in which the fairy sums up. The rest he leaves to the On January 27, 2007, Houston wardrobe materials, educational celebrations as well as the Expo Festival, and D’opera – a play tale and the opera become reality. operagoer to experience live at Grand Opera unveiled a new materials, television series and – fairs in Seville, Lisbon, Hanover, created by Els Comediants with the theatre. production of Gioacchino of course – opera. Whatever the Zaragoza (in 2008), and in Japan, fragments from different famous Ramón Jacques is an opera critic Rossini’s comic masterpiece media, Els Comediants delivers and in many festivals in Latin operas – has introduced many who contributes frequently to La Cenerentola, based on imagination and fantasy. America, Europe, Morocco, young people to opera. Opera Actual (Barcelona, Spain) the Cinderella story. The new Tunisia, Turkey, United Arab and (Mexico City). Els Comediants embraces Pro-Opera staging was conceived by one Emirates, Australia and China. This production of La He also writes for the websites of all forms of communication, of the world’s freshest and most In the U.S., the company’s work Cenerentola did not originate La Opera Del Buen Ayre (Buenos inventive arts groups – Els “speaking” through mime, clowns was first seen in 1991 at the New with Houston Grand Opera, Aires, Argentina) and Mundo Comediants of Barcelona, Spain. and puppets to reach audiences York Theatre Festival. The group but, through an interesting Clasico (A Coruña, Spain). This of all ages. The company says it participated in the 1998 Chicago turn of events, HGO had the article originated with Houston Els Comediants is hard to draws inspiration from symbols, International Theatre Festival, honour of being the first of four Grand Opera, 2007, reprinted with permission. define because it doesn’t fit any myths and rituals and sees its and it returned to Chicago to co-producing companies to pre-existing moulds. The productions as much more than take part in the Goodman’s 2006 stage it. Given Els Comediants’ For further insights into Cinderella, no-holds-barred group established theatrical or musical events. Latino Theatre Festival where it history with Gran Teatre del please read the article “Master of by Joan Font in 1971 is composed It aims to awaken audience performed the North American Liceu, it isn’t surprising that the Sublime” by Patrick Summers in the spring house program. of actors, musicians and artists members to the celebratory spirit premiere of Las mil y una production was initiated by the who will perform anywhere, shared by humankind and our Barcelona company a few years noches (1001 Nights), a unique RENEW your from a street corner to an opera connection to nature. theatrical piece that mixes stories ago. Immediately, HGO General hall. While Els Comediants is subscription NOW and from The Arabian Nights with Director Anthony Freud, who pay in Four Easy Instalments primarily known as a theatre Els Comediants productions The Canadian Opera Company presents have been seen all over the world, fantasy to expose the atrocities was then at the helm of Welsh Cinderella. Joyce DiDonato as Cenerentola WITH ONLY 25% DOWN. company, it also creates festival of destruction in a demolished National Opera, indicated an and Patrick Carfizzi asD on Magnifico in RENEWal deadline projects, recordings, books, films, and the company has taken part the Houston Grand Opera production, april 30. in many Catalan and Spanish library in Baghdad. Els interest in joining the project as a 2007. Photo: Brett Coomer

4 Prelude Magazine Prelude Magazine 5 But you couldn’t not like it. The music – that’s what did the coc board it for me. The orchestra was unbelievable.” For David Ferguson, Executive Managing Director and passion, purpose, pride CFO of BMO Capital Markets, his love of music started at an early age. “I’ve been a lifelong fan of classical music and of opera, and I grew up in a family where By SUZANNE VANSTONE my grandfather used to sit and listen to Saturday Afternoon at the Opera in Winnipeg in the earliest days of those broadcasts. My mother was a very fine As in most organizations, artistic or otherwise, the a collection of individuals who are senior enough, classical musician, and passed on a love of classical COC has a large boardroom with a long table where sophisticated enough, and involved enough music and of opera which I’ve had since I was a board members and COC management gather in business or in professional careers that the teenager. So when it came time in my life and career to monthly, and various sub-committees meet at other governance aspect of it is largely second nature. So (l – r) Angela Graham (The Power Plant), Consuelo Jackman , choose to do something in the community, the appeal Trinity Jackman, Sarah Bywater (Sick Kids Leaders) times. What happens around that table is, of course, we don’t ask how we are supposed to govern. We ask of getting involved with the COC was immediate. important. But what happens between those meetings where are we going, how are we doing, what are the is crucial. An arts organization cannot stay healthy and problems, and how can we help. “Originally I made inquiries to see if I could get organizations that are very supportive of the arts, have vibrant without the support and stable underpinnings involved in a committee of some sort. Margo personal resources or access to people or foundations of its board. And the COC is privileged to have the “And help can mean financial support, relationships Bindhardt was the president at the time and she that do, and that can speak with passion.” with other people, other organizations, governments, unflagging support of a superior board. said ‘No, forget the committees, you’re coming on Some of his highlights over the years? “War and etc. Take the building of the opera house. We had the board!’ Within a year or so, I was appointed I recently spoke with four board members: people who were in real estate development projects, Peace. The Ring. I loved Bluebeard’s Castle/ chairman of the Finance and Operating Committee. Erwartung. That was one of the greatest nights of Paul Spafford – Past President and current Chair; had constructed buildings, and put their own money on I was almost through my first year as president when David Ferguson – Past President and Past Chair; the line. That’s why we came in on-time and on-budget. theatre that I have ever experienced – absolutely Richard died, August 15, 2007. Suddenly my level of brilliant. I also have a particular fondness for The Douglas Ludwig – retired; and, Trinity Jackman – involvement went from modest to extreme. new board member. “The prime thing for a board director is that they have a Flying Dutchman. I love the music and it’s been passion for either the company or for opera – hopefully, “We were all terribly saddened by Richard’s death slightly different each time we’ve done it.” Paul is Vice Chairman of CIBC World Markets Inc. both. You do it because you’re a fan of the organization but the company still had momentum and a bright Doug Ludwig, Chief Financial Officer of Baha Mar, and had a somewhat circuitous route to the COC and what it does. If you’re not passionate about it, it’s future. Once we gathered ourselves after the shock, starting with his involvement at the National Ballet. like another job. And who needs another job?!” Cable Beach Resorts, came to the COC Board through we had to find a replacement. I chaired that Search his association with our naming donor for the new That is until his friend and colleague Tom Woods Committee and it gave me an opportunity to (a current board member) invited him to attend the As with so many patrons, an artistic highlight for Paul opera house, the Four Seasons Hotels and Resorts. was the Ring Cycle. He admits, “I didn’t think I had contribute to the company in a very meaningful way, “I had developed a great interest in opera probably in the opera. “I love music and Tom warned me I wasn’t at a very critical juncture.” allowed to hum!” Despite that difficult restriction, enough passion for 16 and a half hours of opera! But I preceding three or four years before joining the board,” Paul ended up purchasing a COC subscription and was glued to my seat. And although I had the flu during David also addresses the “job” of our board members. Doug says. “It had grown through my daughters, because attended for many years. Then several friends and Götterdämmerung, I was bound and determined that I “We are a fundraising board – that’s our primary they were performing with the Canadian Children’s colleagues who had an association with the COC led was not going to miss it. I sat in the back row of the box, objective. If you are personally passionate about the art Opera Company (CCOC) and they were fortunate him further to his decision to sit on the board – Jim close to the door, and I made it through the whole thing. form and about the company itself, you are much more enough to be in, between the two of them, about eight Black, George Taylor and Rob Collins. Paul adds, I didn’t even know what the Ring Cycle was beforehand. effective as a fundraiser. So we need directors who are different productions, everything fromTosca to Boris “And Richard [Bradshaw] and I became good pals – personally generous, well-connected or employed by Godunov. So naturally I went to see them. we enjoyed our Scotch and cigars! I respected him “I can’t believe I had not been introduced to opera prior and we appreciated each other’s company.” to that. I remember seeing almost all of the As a member of the Nominating Committee, Paul performances and by the end, my wife Karen and I discusses the main functions of a board and its were hooked. When I joined the board, I was absolutely members. “First and foremost, they should be astounded at the members’ talent and commitment. promoters of the organization. And I think any I’ve never been around an organization that’s so management wants them to be a sounding board for passionate about what they do and how they do it. It strategy and direction. Yes, there is a governance was a real honour to be amongst those people and to aspect to it. But in the case of our board, we have contribute in every way possible. After I left the Four Seasons, I had to relinquish my board seat there to another person, but Richard called and said, The COC thanks retiring members Walter Bowen “I would really like you to stay on the COC Board.” QC, Frank Ciccolini Sr., Douglas L. Ludwig and So I continued on. William Morneau, and welcomes new members Marcia Lewis Brown, Trinity Jackman, Sandra “Not every board member, obviously, has the same Simpson and Philip S. W. Smith. David Ferguson and Paul Spafford Karen Rice and Doug Ludwig knowledge of opera or the same background, but I think

6 Prelude Magazine Prelude Magazine 7 “I believe that Alexander is very sensible in David Ferguson Joined in 1993 • Treasurer from 1995 – 2006 maintaining a repertoire that includes popular President from 2006 – 2008 • Chair from 2008 – 2010 operas, but he’s also willing to take some risks. I dr. waters Participated on the following Committees: COC Executive, really enjoyed . I felt the pared-down set was Nominating Committee, COC Finance & Operating perfect – and I really heard the music for the first contributing to the fullness of life Committee, COHC Board, COHC Finance & Operating, Golf time. To keep the art form relevant, you have to take Paul Spafford those sorts of risks. I think it will build audiences. Joined in 1995 • President-elect from 2006 – 2008 By Nikita Gourski President from 2008 – 2010 And the fact that some people didn’t like it, well, Participated on the following Committees: COC Executive, it’s good that’s there’s a dialogue. It makes it more Nominating Committee, COC Finance & Operating exciting! Committee, Fundraising Committee, COHC Board, COHC Back in 1986, Dr. William Waters contributing to organizations that premier training program for Finance & Operating, Corporate Development “I will probably be involved in developing wrote a cheque to the Canadian were “genuinely supportive of the young opera professionals – Opera Company for $50. This year soul,” Dr. Waters says. naturally enough became Douglas Ludwig Operanation and helping with the ongoing efforts of he has generously come forward the beneficiary of Dr. Waters’ Joined in 2003 • Retired in 2010 the COC staff and board for increasing the audience His interest in opera acquired and subscribers in the age group under 40. It’s great as the lead donor for the COC’s interest in supporting “young, Trinity Jackman Year-End Matching Appeal. But an added dimension, however, up-and-coming singers,” and it has Joined in 2010 to raise awareness in that community of people who when he met an aspiring singer Participated in the following Committees: Operanation don’t necessarily know much about opera.” even though his contributions received hundreds of thousands carry a few more zeroes these who was working as a server at of dollars in donations from him Highlights for Trinity? “I thought The Nightingale days than they did 25 years a restaurant near his office at to date. it’s that mix that’s wonderful. I had the ultimate respect and Other Short Fables was amazing because it ago, Dr. Waters’ fundamental Yonge and Eglinton. She was in for Richard Bradshaw. He was an extraordinary leader. really struck me as something so original. The sets motivation for giving to the COC a predicament familiar to many This year he is stepping up to the You only had to talk to him once, and you knew that one were beautiful and the music was fantastic. It was has remained the same over the young artists in the music world. challenge of the COC’s Year-End way or another that house was going to happen! very exciting for me to see something that was years. “We have to ask what is “Two jobs, going to the opera Matching Appeal. Over the past performance program at UofT, 14 years, this special appeal “I absolutely was enthralled by the Ring Cycle. And to so innovative and that a Canadian company was worth something in life,” the after having done a bachelor of has enabled us to expand our have so much Canadian talent – it was breathtaking. involved in its production. People often think that accomplished entrepreneur and music degree. And you have to repertoire of original productions, And probably my other favourite was Boris Godunov opera is rarefied and elitist. But it’s an art form that Professor Emeritus of Economics ask, ‘What are the prospects?’ She provided important funding to the because I love opera with great choruses. One of my includes so many other disciplines – music, singing, and Finance at the University of got some help, but not as much as Ensemble Studio and allowed us great personal experiences happened after purchasing orchestra, dance, drama, comedy, art direction. Toronto reflects. “And what the one needs. So I became, you might to make opera more accessible to a backstage evening through an auction at the COC It incorporates all of the arts, so I think it’s very COC does is create a broader say, her patron.” With Dr. Waters’ a wider audience through exciting golf tournament. It was for Turandot and I remember accessible.” expanse of opportunities for financial support, the young opera outreach and education activities. being in the rehearsal hall while the chorus was understanding and enrichment.” In my discussions with a few board members, it singer continued her training in All gifts received by June 30, 2011 warming up. I’ve never experienced anything like that. Elements, he’ll be the first to became apparent that while their interests are New York and is currently on stage are eligible for the match. The fact As great as it is to hear in the audience, standing right recognize, that contribute directly diverse, and the routes that brought them to the in Gdańsk, Poland. “So I’m rather that the program has a built-in in the middle of it was – I felt like I was 15 feet off the to the fullness of life. COC vary, there is one thing they overwhelmingly happy about that experience,” he collaborative fundraising element ground! So powerful and beautiful.” have in common – a love for this company and Not surprisingly, Dr. Waters’ recalls. “And it also was consistent “is certainly a very significant Trinity Jackman is a new member to the COC Board, for the dedicated work it does to promote the own life is a showcase of opera’s with my ideas about what is worth positive from my perspective,” but the Jackman family has been a philanthropic magnificence of opera. Board meetings may take enriching capability. His doing for young people.” The Dr. Waters says. “I think we’re all mainstay of the company for many decades. “I grew place at our administrative offices at 227 Front St. E., introduction to the art form came COC Ensemble Studio – Canada’s brought up, mostly now anyway, up going to the COC, and then in my 20s I lived in but the work and devotion of our board members some 48 years ago when, as a to think of what can we do for San Francisco and New York, so I had exposure to spreads throughout our city, and beyond, so that doctoral student in economics others, at the same time as we really incredible opera companies. I moved back to the COC can continue to thrive and offer the best at the University of Chicago, do something for ourselves. And Toronto about two years ago and got to experience the artistic experience possible. We thank them from the he attended a performance of I think if I want to enjoy opera amazing new house and to meet Alexander who really bottom of our hearts. La Bohème at the Lyric Opera then I should contribute to it.” of Chicago. “That was very Whether that be $50 or some impressed me. So when the opportunity arose to join Suzanne Vanstone is Senior Communications Manager, the board, I was thrilled to be a part of the company. Editorial at the Canadian Opera Company. special,” he says, noting that the other significant sum! good friend who invited him to To learn more about the Year-End the show is now his wife. Back Matching Appeal and supporting 2011/2012 – A season of phenomenal in Toronto, where Dr. Waters the COC, please contact Christie Canadian and international divas taught finance at UofT for many Darville at 416-306-2375 or years, the couple became regular [email protected]. Jane Archibald, Susan Graham, Adrianne Pieczonka, Erin Wall... and many more COC-goers and donated to the company frequently. These gifts Nikita Gourski is the were in accord with a general Communications Intern at the renewal deadline – april 30 Canadian Opera Company. philanthropic principle of Dr. William Waters

8 Prelude Magazine Prelude Magazine 9 doubt, recriminations and fear. The the ear, melodious, or capable of Iphigénie the space represents the piece deals exclusively with human showing off his compositional trauma, the nightmare she can’t carsen’s underworld emotions – the good and the bad. skills, he just wouldn’t do it. He get out of – and no light is let in. In Orfeo gives in, looks at Euridice was always aware of the drama, Orfeo we play a lot with the light, orfeo ed euridice and she dies. He then laments her which is why his pieces are so as the whole of a rocky landscape death for a second time. But now tightly constructed. Iphigénie en is surrounded by a very large By suzanne vanstone the tragedy becomes a different Tauride, a bit longer at two hours, cyclorama. An intense wall of light one because this time her death is is also very compact and requires surrounds the space. So they’re his fault. And Amore, who has led a lot of concentration from the two quite different responses to The last time director Robert Carsen says, “When Gluck wrote gateway to the underworld. Very Orfeo on both occasions, brings audience. Orfeo is a very beautiful, one composer’s work.” Carsen was with us was for the this first of his reform operas, he few props are used. Euridice back to life a second time. touching piece and when you think In Chicago, Carsen worked world premiere of Harry Somers’ made a return to certain kinds that there are only three singers “In this production we have with David Daniels and Isabel Mario and the Magician – staged of mythology and storytelling “The entire opera has one set,” and most of the piece is carried by made Orfeo – Orpheus, god of Bayrakdarian. Isabel returns for at the Elgin Theatre in 1992. In with the interest of ‘cleaning up’ continues Carsen. “This story Orfeo himself – you realize what a music – as human as possible. We the COC production and Lawrence the intervening 19 years he has opera – removing any extraneous is so essential and deals with very powerful form of expression haven’t made him a mythological Zazzo sings Orfeo. This production become an extremely busy and decoration. Opera had become what opera deals with best – love it is.” character or a god, we’ve set our of Orfeo has not been mounted much sought-after director in almost corrupted by the star and death. Euridice has died production in a modern Greek since Chicago and Carsen may major opera houses throughout the singers and their need to show off. unexpectedly of a snake bite, and rural society. And it starts with decide to change some of it, world, as well as directing various Gluck decided it was time to return Orfeo, desperately in love with Euridice’s death. In our production but still retain the same basic theatre projects and designing to the basics. It was not for nothing her, will do anything to bring her her family and friends bring production values. “I will see what several prominent exhibitions in that he chose as subject matter back to life. And, of course, who of her onstage and bury her and happens with Lawrence Zazzo, Paris including Marie-Antoinette the myth of Orfeo, and the tragic us hasn’t wanted to be able to do then leave Orfeo to mourn her whom I adore as a performer and at the Grand Palais, and Charles stories of Iphigénie and – that? Orfeo manages it. His love is on his own as he gives way to have worked with quite recently. Garnier: An Architect for an all classical stories that have so strong he is prepared to brave overwhelming grief. It’ll be interesting to see what he Empire at the École des Beaux-Arts. their roots in Greek mythology. the Furies and lead Euridice back brings to it. I like making each We welcome him back with the He returned to the gravitas and from limbo – the place between “Gluck wrote this in the early 1760s production work for a new singer – company’s premiere of Orfeo ed simplicity of the original Greek the living and the dead. And he’s and re-wrote it some years later, and not simply use a prescribed Euridice, a production he originally theatre, based as it was on Greek completely prepared to fulfill the when he was court composer to pattern that you just put them staged in Chicago in 2006. Carsen religious ritual, in order to give condition that he mustn’t look back Versailles, to the French court. into. I’ve visited the new opera is directing our Iphigenia in Tauris back to opera its meaning and at her until he retrieves her from Marie Antoinette was his pupil. house several times but I’ve never next season, which also originated power. the underworld. He had taught her when she was staged anything there. I’m looking with Lyric Opera of Chicago. a child in Vienna and then she “Our production was really an “But then there is the extraordinary forward to that and I think both brought him to Versailles. He re- Christoph Willibald Gluck attempt to respond to that same first scene of the third act, where operas will suit the building very wrote Orfeo for the French with a composed Orfeo ed Euridice simplicity. For Lyric Opera of Euridice simply can’t bear the well. new , Orphée et Eurydice. in 1762 and it was the first of his Chicago we did a ‘mini-Gluck’ situation. She thinks Orfeo He added a great deal more ballet “Next year I’m going to design my three “reform” operas; the other cycle. We performed Orfeo and doesn’t love her anymore and her music and the revised piece has first opera –The Turn of the Screw – two being Alceste (1767) and Iphigénie in two consecutive imagination gives way to self- quite a different feeling. But this in Vienna. After designing the very Paride ed Elena (1770). With Orfeo, seasons and I did them with The Canadian Opera Company presents one, the original Vienna version, in large exhibitions in Paris, it led me Gluck transformed the operatic the same design team. Instead Orfeo ed Euridice. David Daniels as Orfeo Italian, is about an hour and a half and Isabel Bayrakdarian as Euridice in the to consider designing an opera. I’m landscape. From the early 1700s, of having numerous scene Lyric Opera of Chicago production, 2006. and we perform it without a break. very involved and very passionate the focus had been on opera changes and elaborate sets and Photo: Robert Kusel We really wanted our production to about design and lighting and I seria, which may seem a slight choreography, I wanted to use be inspired by the reforms which work with wonderful colleagues misnomer now as it evolved from as little as possible.” Carsen, Next year’s production of Iphigenia Gluck had bravely attempted in who are extremely patient with its original dramatic intensity into Tobias Hoheisel (set and costume is more psychologically developed. order to match the kind of reform me. I hope I will be able to bring a a rather absurd and self-indulgent designer), and Peter Van Praet It is a more intense, nightmarish that he was attempting in the ‘Gluckian’ integrity and simplicity way to communicate important (who shares credit for the lighting world than the one Orfeo inhabits. construction of the piece. to my new design work.” musical and dramatic values. design with Carsen) created a Carsen says, “Iphigénie is more Famed castrati and prima donnas world that seems suspended “Gluck was a wonderful composer dream-like whereas Orfeo ends Suzanne Vanstone is Senior vied for attention onstage with between life and afterlife. The who wouldn’t sacrifice anything to in a greater reality. But in both Communications Manager, Editorial elaborate vocal coloratura lines, relatively unadorned set is backed a direct expression of the drama cases we’re dealing with people at the Canadian Opera Company. and their emotions. We’ve tried and audiences were encouraged to by a lit cyclorama and has a gravel that he was dealing with. He was For further insights into Orfeo ed to create spaces where there is incite further histrionics. floor with an open area that is not interested in merely writing Euridice please read Max Loppert’s Euridice’s grave as well as the something that was flattering to nothing to detract from that. In article in the spring house program. Robert Carsen

10 Prelude Magazine Prelude Magazine 11 landrover.ca/ www.landrover.ca The COC Operatours for the 2011/2012 COC OPERATOURS Season – First Announcements! Three fabulous visits to the in New York

January 9 – February 2, 2012 March 11 – 16, 2012 April 26 – May 3 and Three new productions! A dazzling array of May 5 – May 12, 2012 THE BACH CHAMBER MUSIC PAVILION, AMSTERDAM. HANDEL, VIVALDI, RAMEAU vocal fireworks! (Two Ring Cycles – each 8 nights) The Enchanted Island DONIZETTI L’elisir d’amore with Experience the Met’s new c. William Christie , Juan Diego Flórez, groundbreaking $40-million THE PERFECT PLACE TO APPLAUD RANGE ROVER’S A musical pastiche in 18th-century Mariusz Kwiecien, Alessandro Ring Cycle! TECHNOLOGY AND INNOVATION. style with an incredible cast of Corbelli WAGNER Ring Cycle Baroque specialists including MUSSORGSKY Khovanshchina c. d. Robert Lepage Danielle de Niese, Joyce DiDonato, c. Kirill Petrenko with Olga with Katarina Dalayman and David Daniels, Plácido Domingo, Borodina, Vladimir Galouzine, Ildar Deborah Voigt alternating as Luca Pisaroni Abdrazakov, Anatoli Kotscherga Brünnhilde, Gary Lehman and Stephen Gould as Siegfried, Eric WAGNER Götterdämmerung mozart n.p. Owens and Hans-Peter König as See casting in right-hand column c. Sir Andrew Davis with Marina Alberich, Bryn Terfel as Wotan, DONIZETTI Rebeka, Annette Dasch, Isabel Eva-Marie Westbroek and Jonas c. Marco Armiliato with Leonard, Matthew Polenzani, Kaufmann as the Volsung pair , El-ina Garan˘ca, Gerald Finley, John Relyea Ildar Abdrazakov VERDI with Nadja c. – conductor Michael, Thomas Hampson, Dimitri d. – director Pittas, Günther Groissböck n.p. – new production

To receive complete booking information (as it becomes available in the spring), please indicate which tour is of interest to you and apply by e-mail to [email protected] or send a separate, self-addressed, stamped envelope (business size) to: COC Operatours c/o Merit Travel, 114 – 101 Cherryhill Blvd., London, ON N6H 4S4. New Vision, New Brand, New Website With the launch of the 2011/2012 season in January, the COC also launched a new look. This look comes as a result of an exhaustive re-branding process that aims to better represent the company under our fresh, young leadership team.

Our Vision: The Canadian Opera Company is dedicated to being one of the greatest opera companies in the world. Through the leadership of its artistic team and its management, the COC is committed to creating, innovating and delivering a live experience of the highest quality that reflects the passion, vitality, relevance and power of operatic theatre.

To better reflect this vision, our new brand centres around a logo which represents both the intertwined “COC” letterforms as well as a timeless infinity symbol. As a palindrome, the logo reads both left-to-right and right-to-left.I t nods to the COC’s history while looking ambitiously to the future, with opera always at its core.

Along with a new brand for the company, we are also launching a fresh look for coc.ca. The new site incorporates the confident and clean look of the brand as well as making the parts of the site you use the most easier to find. We’ve grouped information in a simpler way, with more emphasis on the operas themselves and the artists and people that make them happen. Let us know what you think, and look for exciting news of how we plan to make coc.ca the ©2011 Jaguar Landd Rover Canadadaa ULC national hub for Canadian opera content.

2011/2012 – A season of the world’s leading singing actors Land Rover Canada is proud to be the Offi cial Automotive Sponsor of the Canadian Opera Company at the Four Seasons Centre for the Performing Arts. Russell Braun, Mark Delavan, Alan Held, Joseph Kaiser, John Relyea... and many more renewal deadline – april 30

Prelude Magazine 13

01638_PRE_R0_RangeRoverPreludeMagAd_8.5x11.indd 1 3/4/11 12:35 PM

COLOURS: 4C PRODUCTION: LIVE: 8” x 10.5” DATE INITIAL DOCKET # LRC VAR A01638 Kari Macknight Dearborn Cyan CREATIVE: TRIM: 8.5” x 11” REGION NA MAGENTA None CLIENT YELLOW ACCOUNT EXEC: CLIENT: Land Rover BLEED: 8.75” x 11.25” None BLACK STUDIO JOB DESC.: Range Rover Prelude Mag Ad STUDIO: TO PRE-PRESS: Lino Scannapiego PRODUCTION FILE NAME: 01638_PRE_R0_RangeRoverPreludeMagAd_8.5x11.indd PRE PREV. USER: START DATE: 03/01/11 CREATIVE DIR. 01638 Mathur, Anant MOD. DATE: 3-4-2011 12:35 PM TO PUB: ART DIRECTOR MEDIA TYPE: Magazine REV0 INSERTION DATE: March COPYWRITER

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FONT DISCLAIMER: The fonts and related font software included with the attached electronic mechanical are owned (“Y&R Proprietary Fonts”) and/or licensed (“Y&R Licensed Fonts”) by The Young & Rubicam Group of Companies ULC. They are provided to you as part of our job order for your services, and are to be used only for the execution and the completion of this job order. You are authorized to use the Y&R Proprietary Fonts in the execution of the job order provided that any and all copies of the Y&R Proprietary Fonts shall be deleted from your systems and destroyed upon completion of this job order. You warrant and represent that you have secured the necessary licenses for the use of Y&R Licensed Fonts in order to execute our job order and will abide by the terms thereof. In celebration of National thank you Volunteer Appreciation Week, April 10 – 16, 2011, we would like to share some numbers coc volunteers that represent a small sample of the incredible contributions made by Canadian Opera By Gillian Story Company volunteers.

45,000 hours per year donated by The glitz, gowns and forced grins Committee was officially over 150 volunteers, equalling the of the awards season may be founded, and the importance of time of 15 to 20 full-time staff gone with the winter winds, but volunteers within the company (l – r) Sandra Gopaul, Jacqueline Sillito, Vera Mraz, Rita Schwerdt and Gail (l – r) Helen Crispin, Colleen Brady and Patricia Anselmi 9,000 charitable tax receipts filed Burton at the Opera Shop. outside the Friends’ Lounge. if the Canadian Opera Company has only grown since (though yearly by an office volunteer could give an award for “Best they are no longer required to Performance in a Supporting supply sandwiches for hungry 7,000 packages carefully Role,” it would have go to our team opera singers!). Since that time, assembled by a team of volunteers a special thank you from alexander neef of tireless volunteers, who have many other volunteer groups during our subscription ticket The professionalism and passion for opera of the On behalf of the company, please accept my deepest played a vital role in the company (i.e. Speakers Bureau) have been mailing many individuals who volunteer with the COC gratitude and appreciation for your commitment. since the very beginning. formed and have become familiar are integral to the vitality of this company and art Please know that your contributions do not go 481 students led on tours of the faces for both staff and patrons form. I never fail to be impressed by the enthusiasm unnoticed and I hope that you will feel rewarded by In 1947, nine Toronto women met Joey and Toby Tanenbaum Opera alike. and selflessness of these ambassadors who give the work we achieve together each season. to form the “Opera and Concerts Centre by volunteer docents in generously of their time, energy and talents. Committee,” with the purpose The generosity of our volunteers 2009/2010 of supporting and promoting with their time and talents plays 237 volunteer usher shifts per the Royal Conservatory’s public a significant role in supporting season for the Free Concert performances. Their focus quickly the Canadian Opera Company’s Series in the Richard Bradshaw became opera rather than general high standards of excellence. To Amphitheatre presented by concerts, and over the course of paraphrase : National Bank The Opera Exchange: the next 10 years, the committee “We can no other answer make Multidisciplinary Approaches to Opera was actively involved in selling but thanks, and thanks.” 163 currently active volunteers tickets, fundraising, and even 73 pre-performance chats delivered Gillian Story is the former Education The COC, in partnership with Ariadne auf Naxos: From A to Z making refreshments for cast per year by members of the COC and Outreach Assistant at the The Munk School of Global Affairs Saturday, May 14, 2011, 9 a.m. to 11 a.m. members – greatly contributing to Canadian Opera Company. Volunteer Speakers Bureau the birth of what would eventually and the Faculty of Music at the Walter Hall, Faculty of Music, become the Canadian Opera To find out more about how you 54 years of service from our University of Toronto, presents 8 a.m. Coffee Company. A few years later, can join the COC’s volunteer family, longest-standing volunteer three half-day symposia on please visit coc.ca. operas performed in the COC's 9 a.m. – 9:30 a.m. Alison Keith, Department of Classics, the Canadian Opera Women’s 10 volunteers on Opera Shop 2010/2011 season. Local and University of Toronto, “Classical Ariadnes” and Friends Lounge duty at the international academics lead Four Seasons Centre for every in-depth explorations on operatic 9:30 a.m. – 10:15 a.m. bryan Gilliam, Francis Hall Fox performance (66 in 2010/2011) Professor in Humanities, Duke University, themes, music, and dramatic “Ariadne auf Naxos from A to Z: 8 the age of the youngest interpretations of stories. Ariadne, Zerbinetta, and Transformation” supernumerary in the COC’s The spring session of Opera 10:15 a.m. – 11 a.m. COC panel discussion, with Sir Andrew 2010/2011 season Exchange explores Strauss’s Davis (conductor) and Adrianne Pieczonka Ariadne auf Naxos. (soprano); moderator: Ali Kashani (COC 6 backdrops (and countless Volunteer Speakers Bureau) costumes and props) created for the After School Opera Program by a long-time education volunteer Tickets $20 (Student & Faculty discounts available; free for U of T Faculty of Music students with valid student card and photo ID) 1 package of original costume Contact Ticket Services at 416-363-8231 or purchase online at coc.ca. drawings from the 1961 production of rescued from Presented in partnership with: the garbage of a Toronto apartment COC Archives volunteers. (l – r) Back row: Anna Arabczuk, Constance Stokes, Mary FACULTY OF MUSIC McClymont, Dorothy Marshall, Birthe Joergensen (Head Archivist), Liana Orlando, Diana building and filed by Archives Bradshaw. Front row: Louise MacLeod, Jane Milisiewicz. volunteers

14 Prelude Magazine Prelude Magazine 15 Canadian lyric Jane Archibald makes her COC debut this and leaping, and they’d neglected spring as Zerbinetta in ’s Ariadne auf Naxos. She returns to the to tell me I’d be in a bikini, so COC next season singing the title role in our May 2012 production of Handel’s you’re somewhat preoccupied with that as well – “suck in the Semele. She recently spoke with us from her home in Austria. stomach!” I got through the first couple of rehearsals of the aria sweating and gasping for breath thinking “How am I going to do jane archibald’s this?” And it is a reminder that pacing is so important – figuring calling card out the spots where you find you’re getting out of breath, canadian coloratura discusses zerbinetta and making very strategic calculations. Once you’ve been singing something as challenging By Gianmarco Segato as this for 12 minutes, it stacks up. It’s definitely a very aerobic aria, even after the 12th show in a row The path to becoming a As a student, it took me a while to sing Zerbinetta, Aminta (Die when you’ve worked things out. professional singer is a long one – to get used to Strauss. Now schweigsame Frau), and the The Canadian Opera Company presents Ariadne auf Naxos. D’arcy Bleiker as Harlequin how did yours begin? Your career has been mostly he seems positively Romantic Italian singer in Capriccio. I also and Katarzyna Dondalska as Zerbinetta in the Welsh National Opera production, 2004. Photo: Clive Barda centred in Europe – are you I come from a musical town compared to some of the more sang Naiad in Ariadne before I looking forward to returning (Truro, ‚) and a contemporary music I’ve gone sang Zerbinetta. to Canada? had to think about it for half an often painted as opposites but if musical family. My dad was an on to sing, but at the time I liked Sort of a stepping stone role… hour and decide if it was crazy you listen to her, she’s saying to Oh, you can’t believe how amateur jazz pianist and my first but doable, or just crazy. I lived Ariadne: “Look, we’re all the same, much. I have so many friends musical experiences were with Yes, in Vienna, I was the cover for the whole weekend listening to a women all go through the same in Toronto because I lived there him, just singing along or playing Zerbinetta and many Zerbinettas recording experiences with men. We’re hurt for four years after I finished Twinkle, Twinkle, Little Star, that start off doing Naiad first, which on my iPod just to get the by them, and it’s just a matter of school, and just to be in Canada kind of thing. I loved singing – it is a very tricky part as well, I harmonies in my head. By the time choice how we react to it. And and buy President’s Choice stuff was my favourite class at school. have to say. But not as tricky as Zerbinetta! I flew to Geneva on Sunday night, you’re choosing to react…” at Loblaws and speak my own Was opera part of your upbringing language and be in my own it was about 80% learned – they In a very extreme way! at all? When did you first perform understood that I had never sung culture… these are things that Zerbinetta? Definitely not, but there was it before. It was a very intense two Yes, “by martyring yourself on I no longer take for granted. classical music. I was drawn to It was a bit of a last-minute thing – weeks, but very exciting because I this island, and I’m choosing to I have wanted to sing at the that from an early age and started the story of my career. During the was discovering this role that has react by moving on to the next COC for a long time, and it’s nice taking voice lessons when I was spring of 2007 I had a lot on my become a kind of calling card for me. one before I get hurt by the last to be coming home to do that, especially in what has become a about 11 or 12 – I started singing plate during my first year as a “fest” Are there aspects of Zerbinetta’s one.” Neither are particularly German lieder and French singer at the Vienna Staatsoper. character which you particularly healthy responses, I suppose, but calling card role. mélodies and fell in love with I was supposed to be covering relate to? she comes across as a real person. We’re also looking forward to next Zerbinetta there, but had yet to season when you return to sing singing in other languages. Jane Archibald Unlike many coloratura roles – During the second half of the learn it. About a week before I got opera, Zerbinetta has to sing one Handel’s Semele. I think I sang my first opera aria Adele in for Handel and Mozart, and Strauss’s the call asking me to go to Geneva of the longest, most demanding of when I was 15 or 16 – Cherubino’s example – she’s not particularly Me too! I just finished singing “Voi che sapete” and loved it! But shifting harmonies seemed a bit as a last-minute replacement for all soprano arias, “Grossmächtige soubrettish, nor a coquette. She’s Prinzessin.” Do you have to be Cleopatra in Paris and said to strange. Now he plays a huge Marlis Petersen, I’d run through even at 18, when I knew I was not one-dimensional and I like careful about pacing yourself myself “Oh God, I forgot how part in my career. I always feel the role once with a coach saying going to study voice at university, that because we all bring a part through something like that? much I love Handel.” I’m really like I sing very healthily when “let’s just crash through it!” On a I didn’t really understand at that of ourselves to every role we excited about the Semele. I’m performing Strauss. A lot of Friday evening I got the call from Absolutely. In December, I was point that it could mean a career sing and personally, I am not a people say that about Mozart, but Geneva just two weeks before the singing it in Paris and again, it Gianmarco Segato is the COC’s as an opera singer. coquette-ish, flirty, girly kind for me, Strauss brings out the best premiere. I knew that Zerbinetta was a situation where I didn’t Retail and Editorial Co-ordinator. This spring, you’ll be making of character. Zerbinetta can be in my voice. My first Strauss role was going to be a great role for me have a lot of rehearsal time. your COC debut as Zerbinetta in played that way, but absolutely For further insights into Ariadne auf was Sophie () and I was going to be learning it in I hadn’t sung Zerbinetta for about Ariadne auf Naxos. How big a part does not have to be. In fact, I Naxos, please read Suzanne Vanstone’s has the music of Richard Strauss at the Vienna Staatsoper, which a month anyway for the Staatsoper, a year and it was a staging where think she actually has a lot in interview with Adrianne Pieczonka in played in your career? was a success, and I’ve gone on but it wasn’t ready. I told them I you’re running around, jumping common with Ariadne. They’re the spring house program.

16 Prelude Magazine Prelude Magazine 17 SUN LIFE FINANCIAL this spring, Alexander Neef Recommends… Listen to This by Alex Ross La Cenerentola (Cinderella) Riccardo Chailly, conductor, Teatro Listen to This takes its title from a beloved 2004 essay in which Alex Ross Comunale Bologna Orchestra and describes his late-blooming discovery of pop music. It showcases the Chorus. With Cecilia Bartoli, Enzo best of his writing from more than a decade at The New Yorker. These Dara, William Matteuzzi, Alessandro pieces, dedicated to classical and popular artists alike, are at once erudite Corbelli and Michele Pertusi Decca, 2 CDs, $52.75 including tax and lively. He vibrantly sketches canonical composers such as Schubert, Verdi and Brahms; gives us in-depth interviews with Cecilia Bartoli sings up a Rossinian modern pop masters such as Björk and Radiohead; coloratura storm in the role that and, introduces us to musicMAR. students24 / COLOUR at OPTION a Newark A high brought her to operatic stardom. school and indie-rock hipsters in Beijing. Riccardo Chailly leads an all- Italian cast, orchestra and chorus Whether his subject is Mozart or Bob Dylan, Ross in Rossini’s shows how music expresses the fullKPMG complexity of the sparkling human condition. Witty, passionate,OPERA and brimming combination of with insight, Listen to This teachesGOLF us how to listen KPMG OPERA CLASSIC GOLFwitty CLASSIC tunes and more closely. sophisticated Farrar, Straus and Giroux. $32.75 including tax melodrama. Both available at the Opera Shop KPMG Opera Golf Classic

The Canadian Opera Company is pleased to golfer’s tournament. Participants enjoy a full lunch announce the 17th Annual Opera Golf ClassicMAR. 24 / COLOUR OPTIONbefore B an invigorating day on the course, followed by presented by KPMG. A longstanding Supporting a cocktail reception and gourmet dinner. This event Sponsor of the tournament, KPMG has generously will also feature a spectacular silent auction plus an increased their support this year as Title Sponsor. incredible gift bag. KPMG On Monday, June 6, 2011, Canada’s top corporate OPERA GOLF KPMG OPERA executives and their guests will gather at the CLASSIC GOLF CLASSIC Scarboro Golf and Country Club for the KPMG Opera Golf Classic. This event is the COC’s largest annual Title Sponsor fundraiser, and has raised almost $2 million for the Canadian Opera Company over the past 17 years.

For just $5,000 you and three other guests can partake in this fun-filled day as a foursome! With many sponsors returning year after year, the KPMG For more information about the event and how to Opera Golf Classic is one of the more popular events donate, please contact Tracy Briggs, Special Events on the circuit, and known to be a high-quality, true Manager, at 416-306-2305 or [email protected].

MAR. 24 / COLOUR OPTION C Operanation VIII is scheduled for Friday, October 21, SAVE THE DATE! 2011, at the Four Seasons Centre for the Performing Arts. We are pleased to support the Sun Life Financial Accessibility Program, KPMG OPERA TM 2011/2012 – Fascinating Minds, AmaGOLFzing Vision, Brilliant ProKPMGduction OPERAs at the Canadian Opera Company, which encompasses SURTITLES , CLASSIC GOLF CLASSIC Zhang Huan blends Handel, Greek and Chinese mythology, indescribable beauty and a real Ming Dynasty temple wheelchair seating, hearing-assistive and vision-impaired devices. Daniele Finzi Pasca brings Cirque du Soleil to 21st-century opera Catherine Malfitano teams with Sir Andrew Davis to create comic magic Robert Carsen uses dance melded with powerful drama to illuminate the tragedy and humanity of Gluck Christopher Alden, Michael Levine and Johannes Debus powerfully return Verdi to his own time renewal deadline – april 30

TM SURTITLES is a registered trade-mark of the Canadian Opera Company. ® Making the Arts More Accessible is a registered trade-mark of Sun Life Assurance Company of Canada.

18 Prelude Magazine At the COC we’re endeavouring to use our resources as wisely as possible, taking into bring in the bling this spring! consideration the fragility of our environment. The following three initiatives are part of our continued efforts. Jewellery Trunk Shows, Musical Gems, and So Much More at the Opera Shop

The Opera Shop, located on the main floor of the Isadore and Rosalie Sharp City Room, offers a fine selection the greening of the coc of opera recordings on CD and DVD, opera-related books, giftware, jewellery made by Canadian artisans and COC souvenirs. catching some sun at the scene shop This spring we recommend the following recordings from Universal Classics: Spring is just beginning and the The rooftop solar PV system roof of the COC’s scene shop is qualifies under Ontario’s already in full bloom due to the renewable power Feed-In Tariff installation of solar panels – (FIT) program, and the power a $300,000, 30-kW/ac rooftop produced will be purchased solar photovoltaic (PV) system by Toronto Hydro. The panels donated by Hatch, one of Canada’s are expected to generate largest consulting engineering approximately $25,000 annually companies. in additional revenue for the COC through a 20-year FIT contract The scene shop, which supports that provides a subsidized rate for the COC’s production arm, is the the electricity produced. ideal building to accommodate Solar panels on top of the COC Scene Shop’s roof. , conductor, James Levine, conductor, Vienna Patrick Summers, conductor, Gran this sustainable rooftop Hatch is an employee-owned, English Baroque Soloists, Philharmonic Orchestra. With Teatre Del Liceu Orchestra and solution. Its structure requires multidiscipline firm that provides Monteverdi Choir. With Derek Anna Tomowa-Sintow, Agnes Chorus. With Joyce DiDonato and no modification to support the The electricity travels from the custom process design, business Lee Ragin, Sylvia McNair, Baltsa, Kathleen Battle, Gary Juan Diego Florez solar PV system and no high-rise panels to an inverter that converts strategies, technologies, and Cyndia Sieden Lakes, Hermann Prey Decca, 2 DVDs developments overshadow the the electrical energy from the DC project and construction Decca, 2 CDs Deutsche Grammophon $56.50 including tax current that the panels produce $22.75 including tax 2 CDs, $22.75 including tax solar panels. management from 65 offices Two of today’s most celebrated to the AC current used in the around the world for clients in the The 1762 Vienna version of A classic recording now offered at Rossini singers in the very same The new solar roof is made up electricity grid. From there, the metals, infrastructure and energy the score sung in Italian, with budget price. Levine has always strikingly colourful, storybook of 154 PV solar panels angled to power from the system can be market sectors. celebrated countertenor Derek held this score close to his heart production appearing onstage at receive the most sunlight. These metered and sold to the grid. The Lee Ragin as Orfeo. A recording and the cast features two of the the COC this spring! panels produce electricity by The COC is most grateful to Hatch hailed by Gramophone magazine great 20th-century exponents of system of panels is automated as “a total interpretation of the their roles: Anna Tomowa-Sintow’s converting the energy contained and features no moving parts, for the generous contribution to work, more penetrating than any regal Ariadne and Kathleen in light into electrical power requiring minimal maintenance the arts which helps us become other in the catalogue.” Battle’s spectacular Zerbinetta. using the photovoltaic process. and little operation by the COC. more “green.”

Shop for much more at the Opera Shop or online at coc.ca! Save time, save paper… The Opera Shop is a project of the Canadian Opera Company, in partnership with L’Atelier and save the COC mailing and printing costs! View Prelude online at coc.ca/Publications. Sign up at coc.ca/Prelude Grigorian and Decca – The Opera Label. All proceeds support the Canadian Opera Company. with your Patron Number no later than August 22, 2011 to indicate that you no longer wish to receive a hard copy of Prelude. If we do not hear back from you, we will mail your regular issue of Prelude in mid-September 2011.

The Buzz on our Honeybees Be Part of our Book Club this Spring! Did you know that the Four Seasons Centre has honeybees on its staff? Last spring, two hives of honeybees were placed on the roof of the opera Inspired by the COC’s production of Rossini’s Cinderella, our online Book Club is gearing house, with a press conference on May 19 to announce their arrival. Since up again to examine another take on this timeless story, with a novel by Gregory Maguire: then they’ve enjoyed their own blog on the COC’s site with updates from Confessions of an Ugly Stepsister. beekeeper Fred Davis.

Maguire is best known for his series of Oz novels, including Wicked, which in turn inspired a Our honeybees are helping diversify the types of species of pollinators Tony-award-winning musical. In Confessions he once again takes a familiar story and shows it to and plants in the vicinity of the opera house. It’s another way to be a – us in a new light, setting the tale in 17th-century Holland, with one of the stepsisters as narrator. literally – vital part of our community. Join us to read the novel that the Boston Herald called Available at the Opera Shop. Want to stay updated on all the news of our very small friends? Check out “an engrossing story… endearing and memorable” HarperCollins. $19.50 including tax the honeybees’ own blog at coc.ca/Honeybees. Beekeeper Fred Davis with some of the online at coc.ca/Bookclub. COC’s honeybees

20 Prelude Magazine Prelude Magazine 21 Government Support calendar of events The Canadian Opera Company gratefully acknowledges the generous support of these government agencies and departments: spring 2011 Operating Grants

april 2011

Sat 23 7:30 p.m. Cinderella Opening Performance Thu 28 7:30 p.m. Cinderella

Tue 26 12 p.m. Sashar Zarif Dance Theatre* Sat 30 4:30 p.m. Ariadne auf Naxos Opening Performance Thu 28 12 p.m. Artists of the COC Ensemble Studio* major corporate sponsors 2010/2011 season APRIL 30 – RENEWAL DEADLINE to retain your same seats or renewal priority.

Sun Life Financial Accessibility Program Encompassing SURTITLES™, Wheelchair Seating, Official Automotive Sponsor may 2011 Hearing-Assistive and Vision-Impaired Devices of the COC at the FSCPA

Sun 1 2 p.m. Cinderella Tue 17 12 p.m. Tokai Quartet; Matjash Morzewski, choreographer; Jacqueline Woodley, Mon 2 7:30 p.m. Orfeo ed Euridice Working Rehearsal soprano*

Tue 3 12 p.m. Christopher Mokrzewski, piano* Tue 17 7:30 p.m. Orfeo ed Euridice

Tue 3 7:30 p.m. Ariadne auf Naxos Wed 18 7:30 p.m. Ariadne auf Naxos BMO Financial Group Pre-Performance Major Supporter, Ensemble Studio Opera Chats and BMO Financial Group Wed 4 5:30 p.m. Brett Polegato, ; Thu 19 12 p.m. The Rudolph Family Chamber Players* Production Sponsor Student Dress Rehearsals Liz Upchurch, piano* Mozart’s Xstrata Ensemble Studio School Tour Aida Opening Night Sponsor Thu 19 6 p.m. Golden Circle Event Thu 5 12 p.m. Rustem Hayroudinoff, piano* Thu 19 7:30 p.m. Cinderella Sat 7 4:30 p.m. Cinderella Fri 20 7:30 p.m. Orfeo ed Euridice Sun 8 2 p.m. Orfeo ed Euridice Opening Performance Sat 21 7:30 p.m. Ariadne auf Naxos

Tue 10 12 p.m. Richard Margison, tenor; Sun 22 2 p.m. Cinderella Lauren Margison, soprano* Tue 24 12 p.m. Doug MacNaughton, voice/guitar* Tue 10 7:30 p.m. Cinderella Presenting Sponsor Presenting Sponsor, Tue 24 7:30 p.m. Orfeo ed Euridice Opera for a New Age and Production Co-sponsors Free Concert Series in the Wed 11 7:30 p.m. Orfeo ed Euridice Operanation VII Adams’ Nixon in China Richard Bradshaw Amphitheatre Wed 25 7:30 p.m. Cinderella Thu 12 12 p.m. Artists of the COC Ensemble Studio* Thu 26 12 p.m. Artists of the COC Ensemble Studio* Thu 12 7:30 p.m. Ariadne auf Naxos Thu 26 7:30 p.m. Orfeo ed Euridice Fri 13 7:30 p.m. Cinderella Fri 27 7:30 p.m. Ariadne auf Naxos Sat 14 9:30 a.m. The Opera Exchange: Ariadne auf Official Canadian Wine KPMG Opera Preferred Fragrance Preferred Medical Services Naxos. Walter Hall, Edward Johnson Sat 28 4:30 p.m. Orfeo ed Euridice of the COC at the FSCPA Golf Classic Sponsor Provider Building, 80 Queen’s Park Sun 29 2 p.m. Ariadne auf Naxos Sat 14 7:30 p.m. Orfeo ed Euridice Tue 31 12 p.m. Théâtre la Tangente; Louise Naubert, Sun 15 2 p.m. Ariadne auf Naxos artistic director*

june 2011

Wed 1 12 p.m. Rachel Mercer, cello* Wed 8 12 p.m. Contact Contemporary Music* Preferred Hospitality Sponsor Digital Marketing Sponsor Thu 2 12 p.m. Benjamin Cruchley, piano* Wed 15 6 p.m. PC Summer Recital (Patron, Trustee Official Media Sponsors and Golden Circle) Mon 6 KPMG Opera Golf Classic at Scarboro Golf and Country Club

*These performances are part of the Free Concert Series in the Richard Bradshaw Amphitheatre at the Four Seasons Centre for the Performing Arts, presented by National Bank.

22 Prelude Magazine Prelude Magazine 23