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Home , Edmund Bertram, Fanny Price, Flight (opera), Henry Crawford, Jonathan Dove, Mansfield Park (opera)

UBC 2020/21 SEASON presents Sung in English with English surtitles

Chamber Opera in Two Acts Music by | Libretto by Alasdair Middleton Based on the novel by Opera Tea Opera Excerpts Our final Opera Tea will feature excerpts Our second Concert of Operatic Excerpts February 6 at 7 pm | February 7 at 2 pm promoting our upcoming production of will present two casts performing Performed at the Chan Centre for the Performing Arts Le nozze di Figaro. excerpts from Albert Herring, Rape of and streamed live to your location! April 11, 2021 Lucretia, Suor Angelica, Oberon, I Lombardi, and more. March 21, 2021 Conductor – David Agler Director – Nancy Hermiston Lighting Design – Jeremy Baxter Projection Design – Jacob Wan Projection Consultant – Robert Gardiner Technical Director – Grant Windsor Costume Design – Parvin Mirhady Set Design – Nancy Hermiston and Grant Windsor UBC Opera Ensemble Pianists – Tina Chang & Richard Epp The Singer Le nozze di Figaro There will be one 25-minute intermission during the approximately Behind the Song Comic Opera in Four Acts 2-hour performance. Sung in Italian with English surtitles This production is made possible by The Chan Endowment Fund Simone Osborne Soprano May 15 & 16, 18 & 19, 21 & 22 of the University of British Columbia Gordon Bintner Baritone and the David Spencer Endowment Encouragement Fund April 14, 2021 Wolfgang Amadeus Mozart Composer Generously supported by the Sonya and Lorenzo da Ponte Librettist We acknowledge that the University of British Columbia is situated on the traditional, ancestral and unceded territory of the Musqueam people. Charlotte Wall Arts Fund Nancy Hermiston Director THE SONYA AND CHARLOTTE WALL ARTS FUND David Agler Conductor

Please note that due to the Covid-19 pandemic all dates are subject to change. More details on performing dates and locations can be found at ubcopera.com A Message from the Director

Dear UBC Opera Audiences and Supporters,

I hope that you are all doing well during these In March we will be back with another concert of operatic excerpts for difficult times. We all miss you being with us at you, in April an Opera Tea, and a Singer Behind the Song event featuring the our events and look forward to the coming months talented young Canadian couple Simone Osborne and Gordon Bintner. To when hopefully we can all be together again. close our season, we will present Mozart’s masterpiece, Le nozze di Figaro. For our second opera of the season we are Stay safe, take care and hopefully soon we will be welcoming you back to delighted to be able to present Jonathan Dove’s join us together in person! opera, based on the Jane Austen novel of the same title, Mansfield Park. My admiration for Jane Warmest regards, Austen continues and Dove’s opera brings us the opportunity to experience one of her most controversial works transported to the operatic stage. Dove’s intricate score reflects the complex and rich literary style of Austen’s writing. Our students are enjoying singing the Nancy Hermiston, O.C. soaring solo lines and rich ensemble writing employed by Dove in relating Austen’s poignant story of . I want to say a huge vote of thanks to our conductor, David Agler, who is leading our productions throughout this year; to our pianists for the opera, Richard Epp and Tina Chang; and to all of our musical staff and production Want to learn more about Jane Austen and Mansfield Park? team who have worked tirelessly to ensure the quality of the production UBC Opera has assembled a collection of interviews and publications designed for our students during these exceptional circumstances. I would also like to sate your curiosity! Please visit www.ubcopera.com and follow the links to find to express my deepest gratitude to Leila Getz and the Vancouver Recital lectures and interviews with Austen experts, composer Jonathan Dove, and more. Society for the use of their Steinway Grand , which has helped give this production such a gorgeous sound. And, of course, a sincere thank you Our sincere thanks to our special guests Prof. Em. Herbert Rosengarten, Dr. Miranda to our technical and administrative partners at the Chan Centre. Producing Burgess, Dr. Lise Gaston, PhD Candidate Alyssa Sy de Jesus, Jane Austen Society Opera in COVID times is a very complicated maze of safety protocols, new members Azarm Akhavein and Phyllis Ferguson, and composer Jonathan Dove for sharing their time and expertise! production methods, new online performance requirements, new filming techniques, new Box Office systems — yes so much has changed!! One thing that has not changed is the UBC Opera Ensemble’s talent, energy and Support UBC Opera enthusiasm for performing for you! I must thank our Ensemble for their determination, discipline and courage to keep on learning and performing. The Cast* Synopsis

FEBRUARY 6 FEBRUARY 7 ACT ONE Fanny Price Taryn Plater Danielle Nicholson Lady Bertram Alyssa Samson Kari Rutherford Chapter One: Fanny Price has been sent by her poor parents to live with her wealthy uncle Sir at his estate, Mansfield Park. Treated as a servant, Fanny is Sir Thomas Bertram Rafael Laurindo Liam Robertson hassled and ridiculed by the Bertrams’ daughters, Maria and Julia, and Lady Bertrams’ Hannah Ernst Maya Goell sister, Aunt Norris. The Bertrams’ son, Edmund, recalls to Fanny how he helped her Julia Bertram Katie Fraser Mara Ayque study when she first arrived at the estate; Fanny tenderly remembers his kindness. Chased by a cow, Mr. Rushworth (Maria’s fiancé) hurries in and the family comments Matthew Kim Connor Hoppenbrouwers that he would be a very stupid man if he weren’t so rich. Sir Thomas announces that Aunt Norris Sarah Anderson-Caulfield Roshaan Saulnier once his business on his plantation in Antigua is complete Maria and Mr. Rushworth Mary Crawford Allison Anderson Rachel Buttress may marry.

Henry Crawford Jackson Allen Gabriel Chona Rueda Chapter Two: Maria introduces Mr. Rushworth to the wealthy siblings Mary and Mr. Rushworth Dae Hyun Justin Cho Dae Hyun Justin Cho , who have come from London to visit their half-sister Mrs. Grant, the wife of the new parson. While Maria and Julia take notice of Henry, the Crawfords *All cast is subject to change debate which of the Bertram sisters is a better catch. Mary expresses interest in Edmund, who (to Fanny’s dismay) is clearly smitten.

Chapter Three: With well-wishes and prayers for a safe journey overseas from his family, Sir Thomas departs to do business on his plantation in Antigua.

Chapter Four: Prompted by Mr. Rushworth’s complaints about the state of the gardens at his Sotherton home, Fanny, Edmund, Mary, Henry, Maria, Julia and Aunt Norris all decide to visit his estate to offer their suggestions. Henry offers to take Maria and Julia on his barouche, and Julia excitedly accepts. ˘

Chapter Five: On the journey, Fanny grows tired. Edmund offers to wait while she rests but Mary insists that he continue with her. Left behind, Fanny sadly contemplates that they have moved on without her. Everyone arrives at the gate of Sotherton only for Mr. Rushworth to realize he has forgotten the key. While Mr. Rushworth fetches the key, Henry and Maria flirt and ultimately decide to slip through the iron gate, shortly followed by Julia. Fanny continues to pine for Edmund as she waits for Mr. Rushworth, who returns, flustered that Maria chose to go with the others rather than wait for him. Aunt Norris enters and reminds Fanny of her place, before everyone announces it is time to return home.

Chapter Six: Back at Mansfield Park, Fanny admires the night sky as the others sing and play. Mr. Rushworth affirms his love for Maria, who can think only of Henry. Fanny searches for the constellation Cassiopeia to make a wish; Edmund joins her in her stargazing. When Henry asks Mary to sing, Edmund goes to listen and Fanny is left alone until Mrs. Norris chastises her for risking a cold by standing at an open window. UBC Opera production of The Merry Widow, 2012. Photo by Tim Matheson. Chapter Seven: Maria, Julia, Henry and Mary decide to put on the play Lover’s Vows, to become a clergyman. The ball begins, and Sir Thomas insists Fanny have the first a risqué work that deals with fornication and illegitimate birth. Edmund objects, dance as the ball is in her honour. knowing that Sir Thomas would disapprove of his sisters being in this play. The sisters insist it is only a play and tell Edmund that there’s even a great role for him where he Chapter Two: The dance partners are chosen: Fanny and Henry have the first dance, would play Mary’s lover. Fanny refuses to take part. followed by Mary and Edmund. Fanny watches them dance in agony, waiting for it to end. Chapter Eight: Edmund confides to Fanny that he feels he should play Mary’s lover in Lover’s Vows, so as not to force Mary to perform her role with a stranger. Fanny, Chapter Three: Henry tells Mary that he has asked Sir Thomas for Fanny’s hand in knowing full well that Edmund is infatuated with Mary, reluctantly approves and marriage. Mary is thrilled at the prospect and congratulates Fanny; however, to Sir is heartbroken. Thomas’ anger and disappointment, Fanny is not pleased with the proposal. Mary expresses her disappointment in Fanny, claiming that Henry loves her with all his Chapter Nine: Julia wishes she and Henry had a scene together, but Henry is less heart. Lady Bertram reminds Fanny that it is every young woman’s duty to accept an enthusiastic. As Fanny is helping Mary with her lines, Edmund enters and he and Mary offer of marriage. Edmund knows Fanny does not love Henry, but he also believes that rehearse a passionate scene with Fanny’s assistance. Aunt Norris announces that Fanny should marry Henry and that she will learn to love him. Fanny admonishes him the stage has been built in the drawing room and immediately puts Fanny to work. and asserts that she will never love Henry. Soon after, Mr. Rushworth calls for Fanny to help with his costume, commenting that Maria and Henry often rehearse together. Everyone is rehearsing their lines when Julia Chapter Four: Everyone is busy writing letters. Julia is writing to a suitor who owns a bursts in: Sir Thomas has come home early and is in the hall. Mary and Henry slip out beautiful barouche. Henry is writing to Fanny, hoping that she will change her mind before he notices them, and he immediately calls to cancel the play. He expresses his about him. Maria is writing a letter to Henry angrily telling him to not marry, and disappointment in Edmund, who tells his father that Fanny was the only one who was that she is doing him the favour he refused to do her: saving him from marriage. Mr. against the idea. Rushworth is writing a love letter to Maria. Edmund writes a letter to Fanny confiding his feelings for Mary. Fanny writes a letter back encouraging him to ask for Mary’s Chapter Ten: Sir Thomas suggests to Maria that her engagement can be broken off if hand in marriage, only so that she can find out when they will inevitably marry. She she does not want to marry Mr. Rushworth. Maria refutes this, saying he is mistaken: ultimately decides to not send the letter. she is happy to marry Mr. Rushworth. Privately, however, she admits this marriage is not for love, but rather the only way for her to be independent from her father and Chapter Five: Henry goes to visit Maria. Maria is about to take Henry to the grotto Mansfield Park. when Mr. Rushworth enters. To evade suspicion, she suggests that Mr. Rushworth take Henry on the tour instead, whispering to Henry to meet her there that night. — Intermission — Chapter Six: The inhabitants of Mansfield Park are all confounded over a newspaper headline stating that Maria Rushworth has been seen in the company of Henry Crawford. Although these are just rumours, Aunt Norris scolds Fanny for refusing Chapter Eleven: Mr. Rushworth and Maria are married and head off to Brighton for Henry’s proposal and ruining Maria’s reputation. It is also discovered that Julia has their honeymoon, accompanied by Julia. Fanny, Edmund, Mary, and Henry all reflect “gone to be married” to everyone’s dismay. Mary expresses her anger that Henry has on the marriage and their attitudes towards love. Mary asks Henry what he will do gone off with Maria and needlessly caused a scandal. She then scolds Fanny again now that the Bertram sisters are gone; he decides to pursue Fanny. for refusing Henry’s proposal, before plotting to persuade Henry to convince Maria to leave Mr. Rushworth and marry him instead. Edmund refutes the idea, knowing now that Henry is not an honourable man, and suddenly sees Mary in a different light. She ACT TWO denounces him as nothing but a preacher and exits. Edmund admits to Fanny that he was blinded by love. Chapter One: Sir Thomas has arranged for a coming out ball for Fanny, noticing her beauty (and eligibility) upon his return. While Lady Bertram and Aunt Norris make Chapter seven: Edmund declares his love for Fanny and she rejoices. Everyone arrangements, Mary gifts Fanny a chain for her pendant and reminds her to think proclaims: “Let other pens dwell on misery and guilt... let us learn to laugh and live and of her and Henry whenever she wears it. Knowing Edmund is in love with her, Mary love at Mansfield Park.” tells him that she regrets this will be the last time they dance together, as he aspires Nancy Hermiston, O.C., Director UBC Opera Ensemble

Canadian-born lyric Nancy The University of British Columbia Opera Ensemble was founded by Canadian lyric Hermiston has performed throughout Europe and North coloratura, Nancy Hermiston, in 1995. Beginning with a core of seven performers, Ms. America. Parallel to her extensive singing career, Ms. Hermiston has built the program to a 90-member company. The Ensemble performs Hermiston worked as voice teacher, stage director, three main productions at UBC every season, several Opera Tea Concerts, and a series and Co-coordinator with the University of Toronto’s of Singer Behind the Song events featuring international stars who work with Ensemble Opera and Performance Divisions. In 1995, she joined students. As well, the Ensemble has several engagements with local community the University of British Columbia’s School of Music as partners such as the Vancouver Symphony Orchestra, Vancouver Opera, and Bard on the Head of the Voice and Opera Divisions, where she the Beach. In addition, the Ensemble travels each year to the Czech Republic to gain established the UBC Opera Ensemble. valuable European performance experience. Frequently they appear in concert with Professor Hermiston is also a favourite guest for the Plzen Opera Orchestra, and they are regular guests at the Nürnberg Opera House master classes throughout Canada, the United States, for their Musikalischen Damen Teas (founded by Prof Hermiston in 1985). They have China, and Germany. Her UBC Opera Ensemble tours also given several concerts in Beijing, Shanghai, and Chengdu, China. The Ensemble regularly to the Czech Republic, Germany, Ontario, and throughout British Columbia. has also toured throughout B.C., Alberta, Saskatchewan, and Ontario. The Ensemble’s The Opera Ensemble gave their first performances in Beijing and Chengdu in May of mission is to provide an outstanding performance and academic education for young, 2009, and Shanghai in 2010 and 2011. Ms. Hermiston appeared as Stage Director gifted opera singers, preparing them for international careers. Past main-stage with the Regina Opera for The Barber of Seville and La Cenerentola and with the productions have included Le Nozze di Figaro, Die Zauberflöte, Die Gärtnerin aus Liebe, Vancouver Opera twice for Die Fledermaus, then La Traviata, La Bohème and in 2016, The Merry Wives of Windsor, Suor Angelica, La Bohème, Dido and Aeneas, The Bartered directed their production of Verdi’s Rigoletto, starring UBC Alumna and her former Bride, Manon, Eugene Onegin, Florence: the Lady with the Lamp, Dreamhealer, Falstaff, student, Simone Osborne. Don Giovanni, Cendrillon, Albert Herring, the Western Canadian Premiere of Harry In 2004, Professor Hermiston was named the UBC University Marshal, and Somer’s Louis Riel, The Crucible, Die Lustige Witwe (The Merry Widow), , Così in 2008, UBC awarded her the Dorothy Somerset Award for Performance and fan tutte, Dialogues des Carmélites, Carmen, The Tales of Hoffmann, The Florentine Straw Development in the Visual and Performing Arts. She was also honoured with a Hat, La Traviata, A Night in Venice (Eine Nacht in Venedig), A Midsummer Night’s Dream, Killam Teaching prize in 2010. In October 2011, she received an Opera Canada The Consul, Orfeo ed Euridice, La Cenerentola, Il Tabarro and Gianni Schicchi, Silent Night, Rubie Award for her contributions to opera in Canada. Ms. Hermiston was made Pasażerka, and Il Viaggio a Reims. an Officer of the Order of Canada in December 2013. In 2017, she was awarded the Canadian Music Centre’s BC Award of Excellence and in November 2017, Alumni UBC recognized Professor Hermiston with the Honorary Alumnus Award. In 2018, she received the Faculty of Arts 2017/18 Dean of Arts Award for her outstanding contributions to UBC’s creative research, teaching, and service to the scholarly and broader community, and was inducted into the BC Entertainment Hall of Fame.

UBC Opera production of The Merry Widow, 2012. Photo by Tim Matheson. David Agler, Conductor Tina Chang, Pianist

David Agler served as the Artistic Director for Ireland’s Pianist and Coach, Tina Chang, is currently on the music Wexford Festival Opera from 2005-2019. He has staff at Vancouver Opera, and at Wexford Festival Opera served as Artistic Director for Opera Festival of New in Ireland. Based in Vancouver, she has been involved Jersey, Music Director for Vancouver Opera, Principal with Chor Leoni, re:Naissance Opera, Health Arts Society, Conductor for the Australian Opera, Resident Conductor and Queer Arts Festival. She is currently on faculty at for San Francisco Opera, Principal Guest Conductor for the Vancouver Academy of Music, and is also on the Oper der Stadt Köln, and conductor and Administrator coaching staff at the University of British Columbia. for the Spoleto Festival. Past engagements include: faculty coach and pianist Mr. Agler has led several premieres including the at Hawaii Performing Arts Festival; coach at UBC U.S. premiere of a chamber orchestra version of Alban Summer Vocal Workshop; staff pianist and coach at Berg’s Wozzeck, a newly revised version of Ned Rorem’s soundSCAPE New Music Festival in Cesena, Italy; music opera Miss Julie, John Harbison’s Winter’s Tale, and the director with Fear No Opera in Victoria; coach and world premiere of William Bolcom’s opera Dinner at Eight for Minnesota Opera and repetiteur at Mill City Summer Opera in Minneapolis; pianist and coach with the Wexford Festival Opera. For the University of British Columbia, he conducted the Atelier lyrique at the Opéra de Montréal; assistant coach at Glimmergalss Opera first performance ofDream Healer by Lloyd Burritt. Festival; staff coach and sessional lecturer at Dalhousie University; pianist and Notable guest conducting engagements include productions with the Wexford coach at SongFest; and fellowships at Aspen Opera Theatre Center, Music Academy Festival Opera, Teatro Colón (Buenos Aires), Santa Fe Opera, Seattle Opera, of the West, and the Vancouver International Song Institute (VISI). Netherlands Opera, Pittsburgh Opera, Opera Company of Philadelphia, Opera Tina holds a Bachelor of Music degree from University of British Columbia and a Theater of St. Louis, New York City Opera, Boston Lyric Opera, l’Opéra de Montréal, Master of Music degree from University of Minnesota. Minnesota Opera, Manitoba Opera, and Opera Colorado. As a symphonic conductor, he has led concerts with the San Francisco Symphony, Minnesota Orchestra, Sydney Symphony Orchestra, Winnipeg Symphony, Warsaw Philharmonic, Edmonton Symphony, National Arts Centre (Ottawa) Orchestra, CBC Richard Epp, Pianist Radio Orchestra, Netherlands Radio Symphony, Netherlands Chamber Orchestra, Richard Epp is a Vancouver based vocal coach, Charlotte Symphony Orchestra, and San Francisco Chamber Symphony. pianist and conductor. He is senior opera coach for As Music Director for Vancouver Opera, Mr. Agler earned particular acclaim for the Opera Workshop at UBC and as well as teaching productions of repertoire from the twentieth century, including , The several classes in the School of Music. At UBC he has Makropolous Case, Les dialogues des Carmélites, Jenůfa, Bluebeard’s Castle, Erwartung conducted Serse, Die Gärtnerin aus Liebe, Le nozze di and the Canadian premiere of Carlisle Floyd’s opera Susannah. Figaro, Die Zauberflöte, Hänsel und Gretel, Der Fledermaus, Throughout David Agler’s career, he has been involved with the education of Die lustige Witwe, Brundibar, Cabaret, Weisse Rose young singers. He has had ongoing associations with UBC, The Banff Centre for the and two world premieres among others. He worked Arts, and The Curtis Institute. at the Vancouver Opera as pianist for their Resident Artist Program for five years and has also been on the faculty at the Vancouver Academy of Music. He has appeared in concert for both Vancouver Early Music and Vancouver New Music and has premiered numerous Canadian works and has appeared in recital on CBC on numerous occasions. Jonathan Dove, Composer Special Thanks

Born in 1959 to architect parents, Dove’s early musical experience came from playing the The Chan Centre for the Performing Arts Leila Getz and the piano, organ and viola. Later he studied composition with Robin Holloway at Cambridge David Spencer Endowment Fund Vancouver Recital Society and, after graduation, worked as a freelance accompanist, repetiteur, animateur and The Wall Family Grant Windsor arranger. His early professional experience gave him a deep understanding of singers Mohammed Faris and Faris Family Prof. Robert Gardiner, Theatre UBC and the complex mechanics of the opera house. Opera and the voice have been the central priorities in Dove’s output throughout his subsequent career. Vancouver Opera Guild Lynn Burton, Properties, Theatre UBC Starting with his breakthrough opera , commissioned by Glyndebourne in Robert Dales Jonathan Dove, composer 1998, Dove has gone on to write almost thirty operatic works. Flight, a rare example Martha Lou Henley Dr. Miranda Burgess, of a successful modern comic opera, has been produced and broadcast many times, Charitable Foundation UBC English and Literature in Europe, the USA and Australia. Judith and Graham Forst Dr. Lise Gaston, Dove’s innate understanding of the individual voice is exemplified in his large and UBC President Santa Ono UBC English and Literature varied choral and song output, and his confident optimism has made him the natural Dean of Arts, Gage Averill Dr. Herbert Rosengarten, choice as the composer for big occasions. Assistant Dean, Gerald Vanderwoude UBC English Professor Emeritus Throughout his career Dove has made a serious commitment to community SOM Director, T. Patrick Carrabré Alyssa Sy de Jesus, MA Student development through innovative musical projects. Tobias and the Angel, a 75-minute SOM Manager of Administration, Azarm Akhavein, Phyllis Ferguson, and opera written in 1999, brings together children, community choirs, and professional April Lemoine the JASNA Vancouver Region singers and musicians in a vivid and moving retelling of the Book of Tobit. His 2012 Stephen Quigley and Colborne Architects opera Life is a Dream, written for , was performed by Due to an accident, Ian McCloy, Vancouver Opera professionals and community choruses in a disused Birmingham warehouse, and a who has performed in so many UBC Parvin Mirhady church opera involving community singers The Walk from The Garden was premiered , is not able to take part in this Catherine Alchenbrack at Salisbury Cathedral as part of the 2012 Salisbury International Arts Festival. production. We thank him for his many and Suzanne Poohkay Jonathan Dove was made a Commander of the British Empire (CBE) in the performances with us and wish him a Queen’s 2019 Birthday Honours for services to music. speedy recovery. (adapted from https://www.jonathandove.com/biography.html) Alasdair Middleton, Librettist English librettist and playwright Alasdair Middleton was born in Yorkshire and trained at the Drama Centre, London. His many collaborations with Dove include The Walk from the Garden (Salisbury Festival), Life Is a Dream (Birmingham Opera Company), Mansfield Park (Heritage Opera), The Adventures of Pinocchio () and the cantata On Spital Fields (Spitalfields Festival, winner of a Royal Philharmonic Society Award). His collaborations with Tuckett include Who Is This that Comes? for Opera North and The Crane Maiden for Kanagawa Arts Theater, Japan, both with music by Englishby. Other librettos include On London Fields (winner of Royal Philharmonic Society Award), A Bird in your Ear (New York City Opera), the song cycle The North Wind Was a Woman (for Dawn Upshaw) and Everything Money Can Buy (Selfridges). Middleton’s plays include Aeschylean Nasty, Shame on you Charlotte, Casta Diva and Einmal. (adapted from http://www.roh.org.uk/people/alasdair-middleton) UBC Opera production of Eugene Onegin, 2017. Photo by Tim Matheson. Production Team Tribute to Carmen Garcia

ASSISTANT TECHNICAL DIRECTOR STUDENT COSTUME TECHNICIAN DIRECTORS The UBC Opera Ensemble would like to dedicate these Nancy Hermiston Catherine Thornsley Neusha Amir-Rahmani performances to our dear friend and colleague, Carmen CONDUCTOR PROGRAMME Roshaan Saulnier Garcia, who passed away on Dec. 13, 2020. Our deepest David Agler Magdalena How UBC OPERA EQUIPMENT sympathy goes to Carmen’s husband, Chris, son, Carlos Leila Kirves ASSISTANT LIGHTING DESIGN and their two wonderful granddaughters. Nathon Irving Jeremy Baxter ASSISTANT DIRECTOR Carmen was part of our UBC Opera production team ASSISTANT LIGHTING COSTUME DESIGN Nathon Irving TECHNICIAN for twenty-five years, helping to establish and maintain Parvin Mirhady MARKETING COORDINATION AND Liam Robertson professional standards for our productions and our GRAPHIC DESIGN COSTUME ASSISTANT students. Through her incredible artistry, she took the Miles Linklater Elena Razlog Chan Centre students through that last transition before they stepped EVENTS MANAGER Production Department PROJECTIONS onto the stage – that last step that a makeup artist creates Francesca Corrado Jacob Wan (Designer) PRODUCTION MANAGER for a performer - the transformation into a new character. Robert Gardiner ASSISTANT STAGE AND David Humphreys But Carmen did much more than make that transformation. She encouraged (Consultant) EVENTS MANAGER Jackson Allen Mimi Abrahams the students; set them at ease; calmed those nerves; made them laugh; gave them OPERA COACHES Lloyd Balser confidence in themselves and each other; let them know how important their OFFICE ASSISTANTS Richard Epp Chengyan Boon performances were to their audiences and made them realize how important artists Magdalena How Jason Conroy Tina Chang were to society. Michael Onwood Leila Kirves Brad Danyluk This wonderful Spanish woman who came from a family of dancers and singers Derek Stanyer SURTITLES Gabriel Oakes James Perrella gave us all so much. A woman who loved her family and friends, loved life and PIANISTS Magdalena How Andrew Riter laughter, loved opera and loved making a difference in other people’s lives. I was Tina Chang OPERA LIBRARIAN Don Robinson Richard Epp so blessed to have worked with her all those years and to have had her talent and Alyssa Samson Eric St Laurent support to help build the UBC Opera Ensemble. Most of all, I feel so privileged to HAIR & WIGS CONSULTANT BOX OFFICE DIRECTOR FILMED BY have had her friendship and loyalty. Carmen was always so positive, energetic, Elke Englicht Trevor Mangion Collide Entertainment kind and supportive and one of the best and fastest makeup artists that I have ever PROPS STUDENT BOX OFFICE DIRECTOR CAMERA OPERATORS known. When our UBC students would go to the Vancouver Opera to perform they Lynn Burton Katie Fraser Aaron Nathanson would find Carmen working there as well. She watched out for them, and was so PROPS ASSISTANTS BOX OFFICE WORKER Adam PW Smith proud to call them “her kids”. One could not have a better ally than Carmen for your Matthew McLellan Emma Jang DIRECTOR/EDITOR first professional engagement! Hannah Ernst Mike Southworth Emma Jang TECHNICAL DIRECTOR/ Twenty-five years of UBC Opera students have had the honour of working with CARPENTER Neusha Amir-Rahmani HEAD AUDIO TECHNICIAN Carmen Garcia. Grant Windsor Julia Coutant Lloyd Balser We have selected a few lovely thoughts that they have shared with us. ASSISTANT CARPENTER Nathon Irving ASSISTANT HEAD AUDIO/ Carmen, thank you for always being there for us and always keeping us looking Philip Piper Max Smith STAGE TECHNICIAN good. Thank you for your incredible artistry, for making us laugh, for being such a James Perrella STUDENT TECHNICAL DIRECTOR loyal friend and colleague and thank you for being you! Matthew McLellan ASSISTANT TECHNICAL We will all miss you so very much! DIRECTOR/HEAD LIGHTING TECHNICIAN Andrew Riter — Nancy Hermiston and The UBC Opera Ensemble Memories of our beloved Carmen Memories of our beloved Carmen

Tony: “Carmen, make me look handsome!” Carmen Garcia was the brightest light in any room. For 15 years, Carmen was a Carmen: “Darling, I hope you understand that I can’t do those miracles in a confidante, cheer leader, comedienne, sage and shoulder to cry on for me. From 15-minute makeup call!” the first operas I ever performed as an undergraduate student with UBC Opera That sums up who she was. Always joking, always putting us at ease before a show, to countless productions with Vancouver Opera, Carmen was a grounding force always professional. Thank you for everything, dear Carmen. and a guiding light. We became incredibly close over the years, and I would share — Tony Bittar every milestone, heartbreak, success and worry with her. She gave the best advice, listened intently and carried me through both the best of times and the worst of Carmen has been an integral part of our lives in opera. She was the first person who times. She was whip smart, hilarious, maternal, honest, supportive, protective and ever did our make-up in a show, and we had the pleasure of continuing to work with simply the most fun to be around. Every time I sat down in her makeup chair, I got her throughout our studies and into our professional careers. She always took the up feeling more assured, joyful, grounded and fearless than when I sat down. She time to help us feel confident before each performance, and always found a way to made it easier to get out on the stage and do my very best, just thanks to the hard make us laugh. She will be missed dearly by all. hour I would spend in her presence before curtain. That was the effect Carmen had — Tamar Simon and Geoffrey Schellenberg on so many of the young singers who came up through Vancouver. Her positivity, support of others, passion for her work and love of life rubbed off on all who were Carmen did more than just enhance a performer’s appearance and help evoke the lucky enough to be around her. No opera stage in Vancouver will ever be the same unique character of different roles for us at UBC Opera. Seated at her make-up without her full-bodied laughter floating down the backstage hallway, followed by a mirror she enhanced a performer’s perspective of themselves through her quick wit, sassy quip in her trademark Spanish accent, as she prepares the next singer for their smile, and encouragement. She will be sorely missed. big entrance. She truly was the heart and soul of that space just beyond the stage, — Sheldon Baxter and she will be forever missed. — Simone Osborne, soprano Carmen was a star supporter for so many of us that were blessed to have been in her makeup chair. She always believed in my abilities and success in life. She was there when I fell in love with my now partner and she said “I knew you would find love.” She was there when I first started getting work outside of school and said “Of course. I told you so, you’re a star!” She was my Spanish Show Mom and believed in me 100% every step of the way. Carmen was a light for everyone around her and I am so grateful to have sat in her chair so frequently during my time at UBC and Vancouver Opera. — Spencer Britten

She was the best of both worlds, a true professional who cared deeply about her job and executed it all with the most delightfully irreverent sense of humour. I’ll miss her. — Leila Kirves Vancouver Opera’s Wagner for Valentine’s A FREE DIGITAL PERFORMANCE FEB 13

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